fn.  Library 

)ur  Head-The  Thinner  the  Skull  the  Better 


Oak  Street 
unclassified 


MENTAL 


III  NUTS 

III  TO  CRACK 


CATCH  OR  TRICK  PROBLEMS 
LYING  FIGURES,  LAME  LOGIC,  CURIOUS  PUNS 
GYMNASTICS  FOR  THE  TONGUE 


RIDDLES 

PUZZLES 

QUESTIONS 


Spelling,  Reading, 
Kissing,  Biographical 
Bible, 

Mathemathical,  Etc. 


Entertainment  For  The  Home 


SHADOW  PANTOMIME 


MAGIC 


Card  and  Coin  TRICKS 


MAX  STEIN  PUB.  HOUSE, 

All  Rights  Reserved 


RIDDLES 

AND 

Drawing-Room  Magic 

BY 

GEORGE  SCHORB 


Humor  for  Quick  and  Dull  Wits 


A COMPLETE  COLLECTION  OF 
THE  WORLD’S  BEST  RIDDLES,  CARD  TRICKS 
AND  PARLOR  GAMES 

Scientific,  Biographical,  Biblical,  Mathematical,  Historical  and  Shakesperean 
Riddles,  Practical  Puzzles,  Acrostics,  Palindromes,  Curiosities  of  Litera- 
ture and  Gymnastics  for  the  Tongue  ; New  and  Standard  Games 
of  Action ; Musical  and  Instructive  Games,  Pantomimes, 

Tricks  with  Coins  and  Cards  ; a Comprehensive  Collec- 
tion of  Parlor  Amusements  and  Entertainments 


SPECIAL  ILLUSTRATIONS 


COPYRIGHT,  1904,  BY  WM.  H.  LEE 
COPYRIGHT,  1907  BY  WM.  H.  LEE. 


1 


CHICAGO 


INTRODUCTION 


the  reader  thinks  it  is  child’s  play  to 
make  riddles,  just  try  to  crack  a few  of 
these  hard-shelled  nuts.  Many  of  the 
conundrums  have  been  prepared  by  the 
best  minds  of  ancient  and  modern  times.  Only 
riddles  which  can  be  guessed  are  given*  and  the  child, 
youth  and  adult  will  find  them  suited  to  each 
individual  taste. 

The  latest  and  best  card  and  coin  tricks,  parlor 
sleight-of-hand  tests  capable  of  being  manipulated 
without  the  use  of  elaborate  preparation,  will  delight 
those  in  search  of  an  evening’s  entertainment. 

The  numerous  games  will  prove  especially  de- 
sirable and  amusing. 

This  book  of  riddles,  tricks  and  games  will  serve 
as  a valued  after-dinner  companion  and  a “jolly 
little  fellow”  to  take  with  you  to  evening  parties. 

It  will  make  you  think  and  laugh  and  therefore 
make  you  happier  and  better. 


* 


FIVE  HUNDRED  RIDDLES 


Q.  Which  is  the  greatest  riddle? 

A.  Life,  for  we  all  have  to  give  it  up. 

Q.  Which  is  the  greatest  number? 

A.  Number  one,  oneself. 

Q.  Which  is  the  best  place  to  hold  the  World's  Pair? 

A.  On  your  heart;  the  fair  one’s. 

Q.  Why  was  Columbus  a very  dissipated  man,  according 
to  Mark  Twain? 

A.  He  has  been  on  a bust  four  hundred  years. 


Can  you  solve  this  one  ? 


Q.  What  class  of  people  in  America  have  no  legs? 

A.  Women;  they  have  limbs. 

Q.  When  a prudish  young  lady  has  occasion  to  speak  of  a 
legacy,  what  should  she  call  it? 

A.  Limb-acy. 

Q.  Which  are  the  safest  banks,  the  best  stock  and  the 
most  profitable  shares? 

A.  The  farmer’s  earth  banks;  livestock  and  plowshares, 
for  they  are  the  source  of  all  wealth. 

3 


4 


Q.  What  would  be  the  best  epitaph  for  a gambler? 

A.  Waiting  for  the  last  trump. 

Q.  Why  is  the  12  -.50  train  the  hardest  to  catch? 

A.  It  is  ten  to  one  if  you  catch  it. 

Q.  Why  is  the  clock  the  most  modest  piece  of  furniture  ia 
the  house? 

A.  It  covers  its  face  with  its  hands  and  runs  itself  down. 

Q.  I saw  a duck  swimming  in  the  pond  and  a dog  sitting 
on  its  tail. 

A.  The  dog  sat  on  his  own  tail  on  the  shore. 

Q.  How  can  you  change  a pumpkin  into  a squash? 

A.  Throw  it  up  and  it  will  come  down  a squash. 

Q.  How  can  you  always  have  what  you  please? 

A.  If  you  will  be  pleased  with  what  you  have. 

Q.  Teacher  said,  “Sonny,  give  me  a word  that  rhymes 
with  boy?" 

A.  He  said  girl.  A true  poet. 

Q.  Why  do  blind  men  so  often  marry  blind  women' 

A.  Because  love  is  blind. 

Q.  Why  is  money  like  a whip? 

A.  Because  money  makes  the  mare  go. 

Q.  The  king’s  fool  offended  him  and  was  condemned  tc 
death;  the  king  said,  “You have  been  a good  fool,  so  I will  let 
you  choose  the  manner  of  your  death.”  What  mode  do  you 
think  he  chose? 

A.  I choose  to  die  of  old  age. 

Q.  Why  is  a Zulu  belle  like  a prophet? 

A.  She  has  little  on  ’er  in  her  own  country. 

Q.  Victor  Hugo  said,  “Man  was  the  riddle  of  the  eight- 
eenth century.”  But  what  is  the  riddle  of  the  nineteenth  cen- 
tury? 

A.  Woman,  we  can’t  guess  her,  but  we’ll  never  give  her 

up. 

Q.  Who  is  more  to  be  admired  than  a promising  young 
\ man? 

A.  A paying  one. 


Q.  When  a fast  young  man  says,  “I  think  I had  better 
marry  and  settle  down,”  what  would  you  advise  instead? 

A.  Better  stay  single  and  settle  up. 

Q.  Which  one  of  the  children  does  the  mother  love  best? 

A.  Always  the  absent  o<ne. 

Q.  What  is  the  difference  between  an  apple  and  a girl? 

A.  You  have  to  squeeze  the  apple  to  get  cider,  but  you 
have  to  get  sid’er  to  squeeze  her. 

Q.  What  man  has  his  eyes  in  the  back  of  his  head? 

A.  The  man  whose  hind  sight  is  better  than  his  foresight. 

Q.  What  man  is  born  with  three  hands? 

A.  The  man  who  gets  a right  hand,  a left  hand  and  a lit- 
tle behind  hand. 

Q.  What  man  has  a thousand  hands? 

A.  The  man  who  employs  a thousand  men. 

Q.  White  and  black  and  red  all  over? 

A.  A newspaper. 

Q.  A farmer  had  twenty  sick  sheep  and  one  of  them  died. 
Hew  many  had  he  left? 

A.  Nineteen.  In  giving  this  riddle  speak  the  word  sick 
so  quickly  that  it  will  sound  like  six. 

Q.  Why  do  white  sheep  eat  more  than  black  ones? 

A.  There  are  more  of  them. 

Q.  If  you  call  a sheep’s  tail  a leg,  how  many  legs  will  he 
have? 

A.  Four  anyhow. 

Q.  Down  south  the  mosquitoes  are  so  large  that  a good 
many  of  them  weigh  a pound ; and  they  sit  on  the  logs  and 
bark  when  people  go  by. 

A.  A great  many  taken  together  weigh  a pound,  and  they 
sit  on  the  bark. 

Q.  Why  does  a hen  give  you  more  corn  than  she  eats? 

A.  For  every  kernel  she  gives  a peck. 

Q.  Why  is  a drunkard’s  nose  red? 

A.  Red  is  the  signal  of  danger. 

Q.  How  many  bushels  of  earth  can  you  take  out  of  a hole 
that  is  three  feet  square  and  three  feet  deep? 


A.  None.  It  had  all  been  taken  out. 

9^  Why  is  a horse  like  a stick  of  candy? 

A.  The  faster  you  lick  it  the  faster  it  goes. 

Q.  Why  do  you  always  put  on  your  left  shoe  last? 

A.  When  you  have  put  one  on  the  other  is  left 
Q.  Tell  me  the  name  of  the  oldest  whistler  in  the  world, 
and  what  tune  did  he  whistle? 

A.  The  wind  whistling  “Over  the  hills  and  far  away.  ” 

Q.  Why  is  a pretty  girl  like  a blacksmith’s  apron? 

A.  She  receives  many  sparks. 

Q.  Why  is  a man  climbing  a volcano  like  an  Irishman  try- 
ing to  kiss  a girl? 

A.  He  is  trying  to  get  at  the  crater’s  mouth. 

Q.  Why  does  a dog  wear  more  clothes  in  summer  than  in 
winter? 

A.  In  winter  he  wears  a coat;  in  summer  he  wears  a coat 
and  pants.  (He^pants.)  ) 

Q . I tremble  at  each  breath  of  air  and  yet  can  heaviest 
burdens  bear? 

A.  Water. 

Q.  What  must  a crank  have,  to  be  of  any  use? 

A.  A balance  wheel. 

Q,  How  can  you  always  have  friends? 

A.  If  you  make  them. 

Q.  Why  did  all  the  widowers  worship  the  ground  that  a 
certain  widow  walked  on? 

A.  Because  the  ground  was  her  farm  and  they  wanted  it. 

Q.  Why  was  the  death  of  John  Huss,  who  was  burned  at 
the  stake,  preferable  to  that  of  Charles  I,  who  was  beheaded? 

A.  A hot  steak  is  better  than  a cold  chop. 

Q.  Why  does  the  average  preacher  need  no  umbrella  in 
going  to  his  church  on  a rainy  Sunday? 

A.  He  will  be  dry  when  he  gets  into  the  pulpit. 

Q.  When  the  girl  was  asked  why  she  married  a one-armed 
man,  what  do  you  think  she  said? 

A.  She  said  two-armed  men  are  so  common,  and  I do  not 
want  a common  man. 


7 


Q When  was  beef  the  highest  that  it  has  ever  been* 

A.  When  the  cow  jumped  over  the  moon. 

Q.  How  do  we  know  that  the  cow  jumped  over  the  moon? 

A.  By  the  Milky-way. 

Q.  What  is  the  greatest  lancing  operation  in  the  United 
States? 

A.  Lansing,  Michigan.  v 

Q.  For  what  class  of  men  is  the  road  never  wide  enough? 

A.  Drunkard. 

Q.  What  does  the  worthy  man  think  is  more  blessed  to 
give  than  to  receive? 

A.  Kicks,  pills  and  advice. 

Q.  Why  is  the  United  States  government  not  going  to 
have  bayonets  any  longer  in  the  army? 

A.  They  are  long  enough. 

Q.  What  common  thing  is  very  uncommon? 

A.  Common-sense. 

Q.  Why  is  a scrupulous  temperance  man  apt  to  break  hi? 
pledge? 

A.  Three  scruples  make  a dram. 

Q.  What  class  of  people  are  wax  and  marble? 

A.  Children.  Wax  to  receive  an  impression  and  marble 
to  retain  it. 

Q.  Why  do  the  cyclones  in  Kansas  blow  away  so  few 
houses? 

A.  The  houses  are  held  down  by  heavy  mortgages. 

Q.  When  a Kansas  house  is  blown  away,  what  is  left? 

A.  The  mortgage. 

Q.  Why  is  a fashionable  woman  not  wholly  made  by 
Providence? 

A.  “Providence  shapes  her  ends,,r  but  corsets  shape  her 
middle. 

Q.  Why  is  a mischievous  boy  like  a bottle  of  patent  med- 
icine? 

A.  When  taken,  must  be  well  shaken. 

Q.  When  were  the  English  people  poor  judges  of  cattle? 

A.  When  the  Pope  sent  a bull  and  they  thought  it  a bore 

(boar) 


Q.  Three  parts  of  a cross  and  a circle  complete, 

Two  semi* circles  a perpendicular  meet, 

A triangle  standing  on  two  feet, 

Two  semi-circles  and  a circle  complete? 

A.  TOBACCO.  T is  three  parts  of  a cross,  etc. 

Q.  Why  are  people  very  generous  when  they  hear  a ser- 
mon? 

A.  They  give  it  all  away. 

Q.  A man  went  to  the  top  of  his  barn  to  catch  a stork 
that  had  a nest  there ; while  he  was  on  the  roof  the  ladder  fell 
to  the  ground.  What  is  his  easiest  way  to  get  down? 

A.  He  can  pick  down  from  the  stork. 

Q.  Why  is  falling  in  love  like  catching  the  measles? 

A.  The  older  you  are  when  it  happens,  the  harder  it  goes 
with  you. 

Q.  Which  is  the  largest  room  in  the  world? 

A.  Room  for  improvement. 

Q.  Why  is  a roo:  . full  of  married  people  an  empty  room? 

A.  There  is  not  a single  person  in  it. 

Q.  When  is  a man  where  he  is  not? 

A.  When  he  is  beside  himself. 

Q.  On  what  side  of  the  mug  is  the  handle? 

A.  Outside. 

Q.  Captain  Cook  made  three  voyages  around  the  world, 
and  he  was  killed  in  one  of  these  voyages.  In  which  voyage 
was  he  killed? 

A.  Last  one. 

Q.  What  is  it  that  has  two  hands,  one  tail,  four  legs  on 
one  side  and  two  on  the  other? 

A.  A woman  on  horseback. 

Q.  A boy  said  to  his  sister,  “I  saw  something  down  town 
that  would  tickle  you.”  “Oh!”  she  said,  “was  it  a monkey?” 
“No.”  “Was  it  a dancing  bear?”  “No.  It  was— ” 

A.  Some  straw. 

Q.  Why  is  a colt  like  an  egg? 

A.  It  must  be  broken  before  it  can  be  used. 

Q.  What  does  a man  see  every  day  that  God  never  sees? 

A.  His  equal. 


9 


Q.  When  a man  scalds  his  hand,  what  three  authors  does 
he  mention? 

A.  Dickens,  Howitt,  Burns. 

Q.  If  one  man  carries  a sack  of  flour  and  another  man 
carries  two  sacks,  who  has  the  heavier  load? 

A.  A sack  of  flour  is  heavier  than  two  empty  sacks.  (The 
one  that  carries  the  sack  of  flour.) 

Q.  How  many  peas  in  a pint? 

A.  One  p. 

Q.  What  is  better  than  an  idea? 

A.  You  dea\ 


Siamese  Twins  solving  riddles. 


Q.  Which  was  the  largest  island  before  Australia  was  dis 
covered? 

A.  Australia. 

Q.  My  first  two  are  what  Gladstone  wants,  my  last  two 
are  what  Gladstone  hates;  my  whole  expresses  what  Glad< 
stone  is. 

A.  Reformatory. 

Q.  Which  is  proper  to  say,  5 and  6 is  13,  or  are  13? 

A.  Neither;  five  and  six  are  eleven. 


10 


V/.  what  root  must  you  hold  in  your  hand  to  stop  the 

toothache? 

A.  The  root  of  the  tooth  that  aches. 

Q What  makes  more  noise  than  a pig  under  the  fencer 

A.  Two  pigs. 

Q.  Why  is  the  death  of  Socrates  like  a garret? 

A.  It  is  an  Attic  story. 

Q.  Why  is  spring  a dangerous  season? 

A.  The  trees  are  shooting,  the  flowers ‘have  pistils  *nd 
the  bull-rush  is  out  (the  bull  rushes  out).  ^ 

Q.  What  animal  walks  on  four  legs  in  the  mor mag  two 
at  noon,  and  three  in  the  evening? 

A.  Man  creeps  on  four  in  the  morning  of  life,  then  walks 
on  two,  and  in  the  evening  of  life  with  a cane. 

Q.  What  tree  has  twelve  branches,  about  thirty  leaves  on 
each  branch;  which  are  light  on  one  side  and  dar'<  on  the 
other? 

A.  The  year. 

Q.  Of  what  trade  was  Johnie  Horner? 

A.  A plumber. 

Q.  Why  don’t  the  American  girl  like  the  English  dude? 

A.  A Yankee  dude  '11  do. 

Q.  A woman  had  five  children,  half  of  them  were  boys 
what  were  the  other  half?  ’ 

A.  Boys,  too. 

Q.  What  state  produces  the  most  marriages? 

A.  The  state  of  matrimony. 

Q.  What  state  is  round  at  both  ends,  and  high  in  the 
middle? 

A.  Ohio. 

Q.  If  the  devil  should  lose  his  tail,  where  would  he  go  to 
get  a new  one? 

A.  To  the  saloon ; for  that  is  where  they  re-tale  (retail) 
bad  splits.  1 

Q.  When  a boy  falls  into  the  water,  what  is  the  first 
thing  $iat  he  does? 

A.  Gets  wet. 


11 


Q:  He  loved  her.  She  hated  him,  but,  woman-like,  she 

would  h ave  him,  and  she  was  the  death  of  him.  Who  was  he? 
A.  A flea. 

Q.  Why  should  a sailor  be  the  best  authority  as  to  what 
g-oes  on  in  the  moon  ? 

A.  Because  he  has  been  to  sea  (see). 

Q.  What  does  a cat  have  that  no  other  animal  has  ? 

A.  Kittens. 

Q.  When  is  a man  behind  the  times  ? 

A.  When  he’s  a weak  (week)  back. 

Q.  What  is  the  difference  between  a baby  and  a pair  of 
boots  ? 

A.  One  I was  and  the  other  I wear. 

Q.  Use  me  well,  and  I’m  everybody;  scratch  my  back, 
and  I’m  nobody. 

A.  A looking-glass. 

Q.  What  word  becomes  shorter  by  adding  a syllable  to  it? 
A.  Short. 

Q.  If  a stupid  fellow  was  going  to  take  an  examination, 
why  should  he  study  the  letter  P ? 

A.  Because  P makes  “ass”  “pass.” 

Q.  Why  is  buttermilk  like  something  that  never  hap- 
pened ? 

A.  Because  it  hasn’t  a curd  (occurred). 

Q.  Why  is  the  letter  O the  noisiest  of  all  the  vowels  ? 

A.  Because  all  the  rest  are  in-audible. 

Q.  Why  is  a Member  of  Parliament  like  a shrimp  ? 

A.  Because  he  has  M.  P.  at  the  end  of  his  name. 

Q.  Why  is  a pig  a paradox  ? 

A.  Because  it  is  killed  first  and  cured  afterwards. 

Q.  Why  is  a barn-door  fowl  sitting  on  a gate  like  a penny? 
A.  Because  its  head  is  on  one  side  and  its  tail  on  the 

other. 

Q.  Why  is  a man  searching  for  the  Philosopher’s  Stone 

Eke  Neptune? 

A.  Because  he  is  a-seeking  (sea-king)  what  never  was. 


12 


Q.  What  is  the  difference  between  a much-worn  ten-cent 
piece  and  a quarter? 

A.  Fifteen  cents. 

Q.  Why  is  the  nose  placed  in  the  middle  of  the  face  ? 

A.  Because  it’s  the  scenter  (center). 

Q.  What  is  most  like  a hen  stealing  ? 

A.  A cock  robbing  (cock-robin). 

Q.  What  is  worse  than  “raining  cats  and  dogs”  ? 

A.  Hailing  omnibuses. 

Q.  When  is  butter  like  Irish  children  ? 

A.  When  it  is  made  into  little  pats. 

Q.  Why  is  a chronometer  like  a thingumbob  ? 

A.  Because  it’s  a watch-you-may-call-it. 

Q.  Of  what  color  is  grass  when  covered  with  snow? 

A.  Invisible  green. 

Q.  Name  in  two  letters  the  destiny  of  all  earthly  things. 
A.  D K. 

Q.  What  is  even  better  than  presence  of  mind  in  a rail- 
way accident? 

A.  Absence  of  body. 

Q.  What  word  contains  all  the  vowels  in  due  order  ? 

A.  Facetiously. 

Q.  Why  is  a caterpillar  like  a hot  roll  ? 

A.  Because  it’s  the  grub  that  makes  the  butter-fly. 

Q.  What  is  that  which  occurs  twice  in  a moment,  once  in 
a minute,  and  not  once  in  a thousand  years  ? 

A.  The  letter  M. 

Q.  What  is  that  which  will  give  a cold,  cure  a cold,  and 
pay  the  doctor’s  bill  ? 

A.  A draught  (draft). 

Q.  What  is  that  which  is  neither  flesh  nor  bone,  yet  has 
four  fingers  and  a thumb  ? 

A.  A glove. 

Q.  What  is  that  which  no  one  wishes  to  have,  yet  no  one 
cares  to  lose? 

A.  A bald  head. 


13 


Q.  What  is  the  difference  between  a rhododendron  and  a 
cold  apple-dumpling-  ? 

A.  The  one  is  a rhododendron  and  the  other  is  a cold 
apple-dumpling.  (You  surely  wouldn’t  wish  for  a greater 
difference  than  that.) 

Q.  Why  has  man  more  hair  than  woman  ? 

A.  Because  he  is  naturally  her  suitor  (hirsuter). 

Q.  Why  is  the  letter  G like  the  sun? 

A.  Because  it  is  the  center  of  light. 

Q.  Why  is  the  letter  D like  a wedding  ring? 

A.  Because  we  cannot  be  wed  without  it. 

Q.  What  sweetens  the  cup  of  life,  yet,  divested  of  its 
end,  embitters  the  most  grateful  draught? 

A.  Hope  — hop. 

Q.  Why  should  ladies  not  learn  French? 

A.  Because  one  tongue  is  enough  for  any  women. 

Q.  Which  tree  is  most  suggestive  of  kissing? 

A.  Yew.  (This  is  a riddle  which  should  be  used  with 

due  precaution.) 

Q.  What  act  of  folly  does  a washerwoman  commit? 

A.  Placing  tubs  to  catch  soft  water  when  it  rains  hard. 
Q.  Why  should  a cabman  be  brave? 

A.  Because  none  but  the  brave  deserve  the  fair  (fare). 
Q.  What  is  the  most  difficult  surgical  operation? 

A.  To  take  the  jaw  out  of  a woman. 

Q.  Why  is  it  difficult  to  flirt  on  board  the  St.  Jo  steamers? 
A.  Because  all  the  mails  (males)  are  tied  up  in  bags. 
Q.  What  letter  made  Queen  Bess  mind  her  P’s  and  Q’s? 
A.  R made  her  (Armada). 

Q.  Why  is  blind-man’s-buff  like  sympathy  ? 

A.  Because  it  is  a fellow  feeling  for  another. 

Q.  When  may  a man  be  said  to  have  four  hands  ? 

A.  When  he  doubles  his  fists. 

Q.  Why  is  it  an  insult  to  a cock-sparrow  to  mistake  him 
for  a pheasant? 

A.  Because  it  is  making  game  of  him? 


14 


Q.  What  is  it  from  which  the  whole  may  be  taken,  and 
yet  some  will  remain? 

A.  The  word  ‘‘wholesome.” 

Q.  Why  is  it  easy  to  break  into  an  old  man’s  house  ? 

A.  Because  his  gait  (gate)  is  broken  and  his  locks  are  few. 
Q.  Why  should  the  male  sex  avoid  the  letter  A? ^ 

A.  Because  it  makes  men  mean. 

Q.  When  does  a man  sneeze  three  times? 

A.  When  he  cannot  help  it. 

Q.  What  relation  is  the  doormat  to  the  scraper? 

A.  A step  farther  (step-father). 

Q.  Why  does  a piebald  pony  never  pay  toll? 

A.  Because  his  master  pays  it  for  him. 

Q.  Why  is  the  letter  S like  a sewing-machine  ? 

A.  Because  it  makes  needles  needless. 

Q.  Why  need  France  never  fear  an  inundation? 

A.  Because  in  France  all  the  water  is  “l’eau.” 

Q.  What  is  the  difference  between  a cow  and  a ricketty 
chair  ? 

A.  The  one  gives  milk  and  the  othe  gives  whey  (way). 

Q.  What  flower  most  resembles  a bull’s  mouth  ? 

A.  A cowslip. 

Q.  What  does  a stone  become  in  water  ? 

A.  Wet.  — 

Q.  Why  are  sailors  bad  horsemen? 

A.  Because  they  ride  on  the  main  (mane). 

Q.  When  was  beef-tea  first  introduced  into  England  ? 

A.  When  Henry  VIII.  dissolved  the  Pope’s  bull. 

Q.  What  letter  is  the  pleasantest  to  a deaf  woman  ? 

A.  A,  because  it  makes  her  hear. 

Q.  When  is  love  a deformity  ? 

A.  When  it  is  all  on  one  side. 

Q.  Why  is  a mouse  like  hay  ? 

A.  Because  the  cat’ll  (cattle)  eat  it. 

Q.  Which  is  the  merriest  letter  in  the  alphabet? 

A.  U,  because  it  is  always  in  fun. 


15 


Q.  What  is  that  word  of  five  letters  from  which,  if  you 
take  away  two,  only  one  remains? 

A.  Stone. 

Q.  Why  are  good  resolutions  like  ladies  fainting  in 
church  ? 

A.  Because  the  sooner  they  are  carried  out  the  better. 

Q.  Why  is  a horse  like  the  letter  O? 

A.  Because  Gee  (G)  makes  it  Go. 

Q.  What  is  the  difference  between  a bankrupt  and  * 
feather-bed? 

A.  The  one  is  “hard  up”  and  the  other  soft  down. 

Q.  Why  is  the  letter  B like  fire? 

A.  Because  it  makes  oil  boil. 

Q.  What  word  is  pronounced  quicker 
by  adding  a syllable  to  it? 

A.  Quick. 

Q.  Which  member  of  Congress  wears 
the  largest  hat? 

A.  The  one  who  has  the  largest  head. 

Q.  Why  are  bakers  the  most  self-deny- 
ing people? 

A.  Because  they  sell  what  they  knead 
(need)  themselves. 

Q.  Why  does  a clock  never  strike  13? 

A.  It  hasn’t  the  face  to  do  so. 

Q.  What  relation  is  that  child  to  its  own  father  who  is  not 
its  own  father’s  own  son? 

A.  His  daughter. 

Q.  When  does  a pig  become  landed  property? 

A.  When  he  is  turned  into  a meadow. 

Q.  What  is  the  best  way  to  make  a coat  last? 

A.  Make  the  vest  and  trousers  first. 

Q.  What  Queen  Mary  had  before,  poor  thing  I what  King 
William  bad  behind,  poor  thing!  what  Queen  Anne  never  toad 
at  all,  poor  thing? 

A.  The  letter  M. 


16 


Q.  Which  is  the  heavier,  the  full  or  the  new  moon? 

A.  The  new  moon;  because  the  full  moon  is  a great  deal 
lighter. 

Q.  Why  is  an  alligator  the  most  deceitful  of  animals  ? 

A.  Because  he  takes  you  with  an  open  countenance. 

Q.  Why  are  fowls  the  most  profitable  of  live  stock? 

A.  Because  for  every  grain  they  give  a peck. 

O.  W~hat  is  that  which  comes  with  a train,  goes  with  a 
train,  is  of  no  use  whatever  to  the  train,  and  yet  the  train 
can’t  go  without  it? 

A.  Noise. 

Q.  If  your  uncle’s  sister  is  not  your  aunt,  what  relation 
is  she  to  you  ? 

A.  Your  mother. 

Q.  Why  does  a duck  put  its  head  under  water? 

A.  For  divers  reasons. 

Q.  What  vegetable  product  is  the  most  important  in 
history? 

A.  Dates. 

Q.  Why  is  the  letter  W like  a maid  of  honor? 

A.  Because  it  is  always  in  waiting. 

Q.  What  letter  is  always  invisible,  yet  never  out  of  sight? 
A.  The  letter  I. 

Q.  What  is  an  old  lady  in  the  middle  of  a river  like? 

A.  Like  to  be  drowned. 

Q.  Why  are  E and  I the  happiest  of  the  vowels? 

A.  Because  they  are  in  happiness,  while  the  rest  are  in 
purgatory. 

Q.  Why  is  the  letter  F like  a cow’s  tail? 

A.  Because  it  is  the  end  of  beef. 

Q.  Why  is  a pig  in  a parlor  like  a house  on  fire? 

A.  Because  the  sooner  it  is  put  out  the  better. 

Q.  What  is  the  best  thing  to  make  in  a hurry  ? 

A.  Haste. 

Q.  Why  is  a tallow-chandler  like  a villain  exposed? 

A.  Because  his  wicked  works  are  brought  to  light. 


17 


n 

Q.  Which  of  the  constellations  reminds  you  of  an  empty 
fireplace? 

A.  The  Great  Bear  (grate  bare). 

Q.  What  do  you  add  to  nine  in  order  to  make  it  three  less? 

A.  The  letter  S.  S(IX). 

Q.  What  is  it  that  walks  with  its  head  downwards? 

A.  A nail  in  a shoe. 

Q.  Why  is  a lame  dog:  like  a schoolboy-  adding-  six  and 
seven  together? 

A.  Because  he  puts  down  three  and  carries  one. 

Q.  Why  is  Brooklyn  Bridg-e  like  merit? 

A.  Because  it  is  very  often  passed  over? 

Q.  What  was  Joan  of  Arc  made  of? 

A.  Maid  of  Orleans,  of  course. 

Q.  A man  remarks,  looking  at  a portrait,  “Uncles  and 
brothers  have  I- none,  but  that  man’s  father  my  father’s 
son.”  What  relation  is  the  original  of  the  portrait  to  the 
speaker? 

A.  His  son. 

Q.  Formed  long  ago,  }^et  made  to-day  ; 

Employed  while  others  sleep; 

What  few  would  wish  to  give  away, 

Yet  no  one  cares  to  keep? 

A.  A bed. 

Q.  What  did  Adam  first  plant  in  the  Garden  of  Eden? 

A.  His  foot. 

Q.  Four  men  went  to  sea  on  a marble  slab.  The  first  had 
no  eyes,  the  second  had  no  hands,  the  third  had  no  legs,  and 
the  fourth  was  naked.  The  first  saw  a bird,  ;the  second  shot 
it,  the  third  ran  and  picked  it  up,  and  the  fourth  put  it  in  his 
pocket.  What  is  that  ? 

A.  A lie,  of  course. 

Q.  What  is  Majesty,  deprived  of  its  externals? 

A.  A jest. 

Q.  When  was  fruit  known  to  use  bad  language? 

A.  When  the  first  apple  cursed  the  first  pair  (pear). 


18 


Q.  If  you  saw  an  egg  on  a music  stool,  wnat  great  poem 
would  it  remind  you  of?  J 

A.  The  Lay  of  the  Last  Minstrel’1: 

Q.  How  would  you  make  a thin  man  fat? 

A.  Throw  him  out  of  a second-story  window,,  and  let  him 
come  down  plump. 

Q.  What  is  the  difference  between  a young  maid  of  six- 
teen and  an  old  maid  of  sixty  ? 

A.  The  one  is  happy'  and  careless,  the  other  cappy  and 
hairless. 

Q.  If  a man  gets  up  on  a donkey,  where  should  he  get 
down? 

A.  From  a swan’s  breast. 

Q.  Why  were  Adam  and  Hve  a grammatical  anomaly  ? 

A.  Because  they  were  two  relatives  without  an  antece- 
dent. 

Q.  Why  should  you  never  write  a secret  with  a quill-pen? 

A.  Because  it  is  apt  to  split. 

Q.  Which  is  the  most  cautious  of  birds? 

A.  The  dove,  because  she  minds  her  peas  and  coos  (p’s 
and  q*s). 

Q.  Which  is  the  strongest  day  of  the  week? 

A.  Sunday,  because  all  the  others  are  weak  days. 

Q.  If  a pig  wanted  to  build  himself  a house,  how  would 
he  set  about  it? 

A.  Tie  a knot  in  his  tail,  and  call  it  a pig’s  tie  (pig-stye). 

Q.  Why  does  a donkey  prefer  thistles  to  oats  ? 

A.  Because  he’s  an  ass. 

Q.  Where  can  you  always  find  sympathy  ? 

A.  In  the  dictionary. 

Q.  What  is  the  difference  between  a lady  and  a looking- 
glass? 

A.  The  one  speaks  without  reflecting,  the  other  reflects 
without  speaking. 

Q.  Why  are  oysters  the  best  food  for  dyspeptic  people  ? 

A.  Because  they  die  just  (digest)  before  they  eat  them. 


19 


1 


Q.  When  a boy  falls  out  of  a window,  what  does  he  always 
fall  against? 

A.  Against  his  will. 

Q.  What  great  corporation  does  Eve  represent? 

A.  Adam’s  Express  Company. 

Q.  A rat  finds  twelve  ears  of  corn  in  a basket;  he  carries 
off  three  ears  every  night,  how  long  does  it  take  him  to  empty 
the  basket? 

A.  Twelve  nights;-  he  carries  off  one  ear  of  corn  and  his 
•wn  ears  each  night. 


A.  To  get  on  the  other  side. 

Q.  If  the  alphabet  were  going  out  t©  a party,  when  would 
the  last  six  letters  start? 

A.  After  T. 

Q.  Before  reapers  were  invented  this  riddle  was  popular — 
why  is  a baby  like  wheat? 

A.  First  it’s  cradled,  then  it’s  threshed,  then  it  becomes 
the  flower  of  the  family. 

Q.  How  can  you  ask  a doctor  of  divinity,  in  one  word,  to 
play  a violin? 

A.  Fiddle-dee-dee. 

Q.  My  whole  is  a sea-monster.  If  you  behead  him.  he  be- 


20 


comes  an  American  clergyman.  Then,  if  you  behead  the  cler- 
gyman, you  have  an  English  beverage. 

A.  Whale,  hale,  ale. 

Q.  Why  would  a man  never  starve  in  the  desert  of  Sahara? 

A.  Because  of  the  sand  which  is  there  (sandwiches). 

Q.  How  do  we  know  that  there  are  sandwiches  there? 

A.  Because  the  sons  of  Ham  were  bred  and  mustered 
there. 

Q.  My  whole  is  a noted  commentator.  If  you  behead  him 
he  is  a singing  bird.  If  you  behead  the  bird,  you  have  a 
famous  old  ship. 

A.  Clark,  lark,  ark. 

Q.  Why  are  widows  more  generous  than  young  girls? 

A.  Because  girls  are  looking  out  for  number  one ; widows 
are  satisfied  with  number  two. 

Q.  Why  is  a lover  like  a tailor? 

A.  He  presses  his  suit. 

Q.  Sam  Patch  would  go  up  to  the  tallest  trees,  take  oft 
his  boots  and  jump  over  them. 

A.  Over  his  boots. 

Q.  How  many  eggs  can  a man  eat  on  an  empty  stomach? 

A.  None;  when  he  begins  to  eat  his  stomach  is  no  longer 
empty. 

Q.  Of  what  trade  are  all  the  presidents? 

A.  Cabinet  makers. 

Q.  Why  does  a preacher  have  an  easier  time  than  a doetor 
or  lawyer? 

A.  Easier  to  preach  than  practice. 

Q.  What  is  the  best  thing  to  put  into  pies? 

A.  Your  teeth. 

Q.  Why  is  a slanderer  like  a bed-bug? 

A.  He  is  a backbiter. 

Q.  Why  is  a side-saddle  like  a four-quart  jug? 

A.  It  holds  a gal’ on. 

Q.  Which  country  ought  to  be  the  richest  in  the  world? 

A.  Ireland ; for  its  capital  is  always  Dublin. 

Q.  Which  are  the  oldest  knives  and  forks? 


21 


1 


A.  Fingers  and  teeth. 

Q.  What  two  animals  follow  you  everywhere? 

A.  Your  calves. 

Q.  How  do  we  know  that  Caesar  was  acquainted  with  the 
Irish? 

A.  When  he  crossed  the  Rhine  he  came  back  to  Bridg-it. 
Q.  Adam  and  Eve  and  Pinch  me  went  down  to  the  river 
to  bathe. 

Adam  and  Eve  were  drowned  and  who  do  you  think 
was  saved? 

A.  Pinch  me.  When  your  friend  says  pinch  me,  you  must 
do  so. 

Q.  When  butter  is  worth  twenty  cents  a pound,  what  will 
a ton  of  coal  come  to? 

A.  Ashes. 

Q.  When  is  a door  not  a door? 

A.  When  it  is  a-jar. 

Q.  When  is  a bonnet  not  a bonnet? 

A.  When  it  becomes  a nice  girl. 

Q.  When  does  a girl  become  a two-wheeled  vehicle? 

A.  When  she  is  a little  sulky. 

Q.  When  does  a bed  become  a vehicle? 

A.  When  it  is  a little  buggy. 

Q.  If  32  is  the  freezing  point  where  is  the  squeezing  point? 
A.  Two  in  the  shade. 

Q.  What  low-born,  ill-bred  fellow  has  noble  blood  in  him? 
A.  A flea  that  bites  Lords  and  Ladies. 

Q.  A man  asked  permission  of  the  warden  to  visit  a pris- 
oner. The  warden  asked:  “Are  you  related  to  the  prisoner?” 

He  replied:  “This  man’s  father  is  my  father’s  son.  ” What 

relation  is  he? 

A.  He  is  the  prisoner’s  Father. 

Q.  In  what  month  do  women  talk  the  least? 

A.  February  (the  shortest  month). 

Q.  The  minister  and  his  wife,  the  school-teacher  and  his 
daughter,  were  walking  in  the  grove.  They  found  a bird's 


22 


nest  xftat  contained  four  eggs.  Each  of  them  took  out  an  egg 
and  yet  left  one  in  the  nest. 

A.  There  was  but  one  lady,  as  the  minister  had  married 
the  teacher’s  daughter. 

Q.  What  must  you  fill  a barrel  with  to  make  it  lighter? 

A.  Holes. 

Q.  What  always  weighs  the  same,  whether  larger  or 
smaller? 

A.  A hole. 

Q.  As  I went  down  to  St.  Ives, 

I met  seven  wives, 

Each  wife  had  seven  sacks; 

Each  sack,  seven  cats; 

Each  cat,  seven  kits; 

Kits,  cats,  sacks  and  wives, 

How  many  went  to  St.  Ives? 

A.  One;  the  rest  came  from  there. 

Q.  Why  does  a negro  not  have  the  cap  on  his  knee  that  a 
white  man  has? 

A.  Because  he  has  his  own. 


V . 

BIOGRAPHICAL  RIDDLES. 

The  questions  in  the  following  list  were  not  originally 
intended  for  riddles,  but  the  riddles  were  suggested  to  my 
mind  by  the  remarks  of  eminent  men  or  remarks  made  about 
them : 

Q.  When  an  Englishman  said  to  Lincoln:  “What  was 

your  family  coat-of-arms?”  he  said:  “ 

A.  Shirt  sleeves. 

Q.  When  a rival  candidate  tried  to  make  a point  against 
Lincoln  by  saying  he  was  illiterate,  in  one  of  his  letters  he  used 
a small  i instead  of  a capital  I.  Lincoln  promptly  replied: 

A.  The  other  candidates  had  used  up  all  the  big  I’s,  so  I 
had  to  take  one  of  the  little  ones. 

Q.  When  Webster  and  Randolph  were  walking  on  the 
bank  of  the  Potomac,  Randolph  said:  “Webster,  I’ll  bet  you 


28 


1 

a hat  I can  prove  this  side  of  the  river  is  the  other  side.  * ' 
Webster  said:  “Go  ahead.”  How  did  he  prove  it? 

A.  “That  over  there  is  one  side  of  the  river,  isn't  it?” 
“Yes.”  “Then  this  is  the  other  side.” 

Another  senator  now  approached,  and  Webster  thought  he 
would  try  the  joke  on  him,  so  he  said:  “I  will  bet  you  a hat 

I can  prove  that  this  side  of  the  river  is  the  other  side.”  “I 
take  you  up.”  “Well,  this  is  one  side?”  “Certainly.” 
“Then  that  over  there  is  the  other  side.”  “So  it  is,  but  th^t 
was  not  your  proposition.”  “Oh!”  says  Webster,  “let  us  see, 
how  did  you  get  that,  Randolph?”  Webster  lost  two  hats;  he 
was  no  hand  at  a joke. 

Q.  Franklin — Why  are  men  and  women  like  the  two  halves 
of  a pair  of  scissors? 

A.  Because  they  work  well  together,  but  neither  works 
well  alone. 

Q.  When  Franklin  w’as  at  a banquet  in  Paris,  the  English 
ambassador  said : “Here's  to  England,  the  sun  that  enlight- 
ens the  world.”  The  French  ambassador  rejoined:  “Here's 

to  France,  the  moon  that  will  shine  when  the  sun  has  set” 
What  could  Franklin  say? 

A.  Here  is  to  young  Jonathan!  Joshua  who  commanded 
the  sun  and  moon  to  stand  still,  and  they  obeyed  him. 

Q.  Beecher — How  does  a lazy  fellow  obey  the  text,  “Gi 
to  the  ant,  thou  .sluggard?” 

A.  He  goes  to  his  aunt  and  spends  the  winter. 

Q.  Beecher — Married  life  should  continually  grow  happier 
— just  as — 

A.  A ripe  pear  is  sweeter  than  a green  pear. 

„ Q.  Talmage — What  should  be  done  to  the  man  that  can 
sing  and  won’t  sing? 

A.  He  should  be  sent  to  Sing-sing. 

Q.  Spurgeon — Why  are  some  men  like  children’s  money- 

boxes? 

A.  The  Almighty  must  break  them  to  pieces  to  get  any- 
thing out  of  them. 

Q.  O.  W.  Holmes — When  is  the  new  birth  reliable*? 


24 


A.  When  the  second  birth  precedes  the  first  one. 

Q.  Irving — Which  is  the  only  tool  that  grows  sharper  with 
use? 

A.  The  tongue. 

Q.  When  Barnum  arrived  at  Heaven’s  gate  and  St.  Peter 
said:  “You  humbug,  what  show  do  you  think  you  have  of 

getting  in  here?”  Barnum  answered — 

A.  The  biggest  show  in  the  world. 

Q.  What  brief  epitaph  can  you  suggest  for  Ingersoll’s 
grave  that  would  satisfy  both  friends  and  foes? 

A.  Robert  Burns. 

Q.  Burdette — What  man  never  gets  excited  in  the  political 
campaign? 

A.  The  carpenter,  for  he  always  keeps  his  spirit  level. 

Q.  This  riddle  and  the  following  two  were  suggested  by 
Josh  Billings:  Where  is  the  best  place  to  have  a boil? 

A.  On  another  fellow. 

Q.  When  any  one  asks  your  advice  what  should  you  do? 

A.  First  find  out  what  kind  of  advice  he  wants,  then  give 
it  to  him. 

Q.  He  says,  “I  have  resolved  not  to  swear  any  more 
except — ' ’ 

A.  When  I’m  put  under  oath. 

Q.  What  American  has  had  the  largest  family? 

A.  Washington,  the  “Father  of  his  Country.” 

Q.  Emerson — What  key  unlocks  all  doors  and  all  hearts 
to  you? 

A.  Good  manners. 

Q.  Dr.  Johnson — I do  not  belie v ghosts  because — 

A.  I have  seen  too  many  of  them. 

Q.  De  Quincy —When  he  was  asked  why  there  were  more 
women  than  men  in  the  world,  replied — 

A.  We  always  see  more  of  heaven  than  of  earth. 

Q.  Aristotle — There  is  ocie  thing  that  God  himself  cannot 
change,  and  that  is — 

A.  Yesterday. 


25 


1 


Q.  Clinton  B.  Fisk — Was  asked  by  an  Englishman  why 
Miss  Willard  was  not  married ; he  said — 

A.  She  is  the  matchless  woman  of  America. 

Q.  Fanny  Fern — Why  did  the  Pilgrim  mothers  endure 
more  than  the  Pilgrim  fathers? 

A.  They  endured  all  that  the  Pilgrim  Fathers  endured, 
ana  endured  the  Pilgrim  Fathers  besides. 

Q.  When  did  Luther  live  on  hard  fare? 

A.  When  he  was  brought  to  the  Diet  of  Worms. 

Q.  When  Moody  was  asked,  “Can  a man  use  tobacco  and 
be  a Christian,"  he  promptly  replied — 

A.  Yes;  he  can  be  a dirty  Christian. 


BIBLE  RIDDLES. 

Q.  How  many  apples  did  Adam  and  Eve  eat? 

A.  Some  say  Eve  8 and  Adam  2,  a total  of  10  ; others  say 
Eve  8 and  Adam  8 also,  total  16;  but  if  Eve  8 and  Adam  82, 
the  total  will  be  90;  others  reason  that  Eve  81  and  Adam  82, 
total  163;  no,  if  Eve  8t  and  Adam  812,  the  total  was  893;  then 
if  Eve  81  i-st  and  Adam  812,  the  total  would  be  1623;  or 
again,  Eve  814  Adam,  Adam  81242  oblige  Eve,  total  82056; 
though  we  admit  Eve  814  Adam,  Adam,  if  he  8181242  keep 
Eve  company,  total  8182056.  All  wrong.  Eve,  when  she 
81812  many,  and  probably  felt  sorry  for  it,  and  Adam,  in 
order  to  relieve  her  grief,  812,  therefore,  Adam,  if  he  81814240- 
fy  Eve’s  depressed  spirit,  hence  both  ate  81896864  apples. 

Q.  What  did  Adam  first  plant  in  the  garden  of  Eden? 

A.  His  foot. 

Q.  Who  is  the  first  boy  mentioned  in  the  Bible? 

A.  Chap.  I. 

Q.  Why  didn’t  Adam  and  Eve  have  any  molasses? 

A.  Because  they  tried  to  raise  Cain  before  they  got  Able. 

Q.  When  did  the  patriarch  Abraham  sleep  five  in  a bed? 

A.  When  he  slept  with  his  forefathers  (4  fathers). 

Q.  , When  was  ptork  first  introduced  into  the  navy? 

A.  When  Ham  entered  the  Ark. 


26 


Q.  When  did  the  rooster  crow  where  everybody  in  the 
world  heard  him? 

A.  In  the  Ark. 

Q-  How  did  Jonah  look  when  he  saw  the  whale  coming 
to  swallow  him? 

A.  He  looked  down  at  the  mouth. 

Q.  What  Bible  character  had  no  parents  after  Adam’s 
time? 

A.  Joshua,  for  he  was  the  son  of  Nun. 

Q.  Who  is  the  smallest  man  mentioned  in  the  Bible? 

A.  Bildad,  the  Shu-hite  (shoe-high). 

Q.  Why  are  potatoes  and  corn  like  the  Pharisees? 

A.  They  have  eyes  and  see  not  and  ears  and  hear  not. 

Q.  Who  is  the  father  of  Zebedee’s  children? 

A.  Zebedee. 

Q.  What  words  in  the  Bible  were  not  spoken  by  God,  man, 

gel  or  devil? 

A.  The  words  spoken  by  Balaam’s  ass. 

Q.  Teacher  asked  the  little  girl  what  was  the  first  thing 
the  children  of  Israel  did  after  they  came  through  the  Red 
Sea?  _ 

A.  I spect  they  dried  themselfs. 

Q.  Why  was  Paul  like  a horse? 

A.  He  loved  Timothy. 

Q.  According  to  the  colored  preacher,  with  what  holy  oil 
should  every  preacher  be  anointed? 

A.  The  isle  of  Patmos. 

Q.  Teacher  asked  the  boy,  Why  was  it  very  wrong  for 
Joseph's  brothers  to  sell  him  for  thirty  pieces  of  silver?  Boy 
said— 

A.  They  sold  him  too  cheap. 

Q.  Who  is  the  first  girl  mentioned  in  the  Bible? 

A.  Genesis  (Jennie-sis). 

Q.  How  do  we  know  that  Adam  and  Eve  were  gamblers? 

A.  Because  they  left  a Paradise  (a  pair  of  dice)  behind 
them. 

Q.  How  do  we  know  that  Peter  was  short? 


A.  He  said,  "Gold  and  silver  have  I none.' 

Q.  Why  was  Joseph  the  straightest  man  in  the  Bible? 

A.  Because  Pharaoh  made  a ruler  of 'him. 

Q.  Teachersaid:  “If  you  multiply  the  number  of  Jacob’s 

sons  by  the  number  of  times  which  the  Israelites  compassed 
Jericho,  and  add  to  the  product  the  number  of  measures  o. 
barley  which  Boaz  gave  Ruth,  divide  this  by  the  number  of 
Haman’s  sons,  subtract  the  number  of  each  kind  of  clean 
beasts  that  went  into  the  ark,  multiply  by  the  number  of  men 
that  went  to  seek  Elijah  after  he  was  taken  to  heaven;  sub- 
tract from  this  Joseph’s  age  at  the  time  he  stood  before  Phar- 
aoh, add  the  number  of  stones  in  David’s  bag  when  he  killed 
Goliath ; subtract  the  number  of  furlongs  that  Bethany  was 
distant  from  Jerusalem,  divide  by  the  number  of  anchors  cast 
out  when  Paul  was  shipwrecked,  subtract  the  number  of  per  - 
sons saved  in  the  ark,  and  the  answer  will  be  the  number  of 
scholars  in  my  Sunday-school  class.’’ 

A.  Seven  pupils.  ^ 

Q.  How  do  we  know  that  they  had  beer  in  the  ark? 

A.  The  kangaroo  went  in  with  hops  and  the  bear  is  always 
bruin. 

Q.  What  did  Jonah  think  when  the  whale  swallowed  him? 

A.  ' He  thought  he  was  going  to  blubber,  but  be  didn’t. 


GOLDEN  TEXTS  FROM  SHAKESPEARE. 

IN  ANSWER  TO  THE  FOLLOWING  QUESTIONS. 

Q.  Who  are  poor? 

A.  How  poor  are  they  who  have  no  patience. 

Q.  Who  are  crippled? 

A.  None  is  deformed  but  he  that  is  unkind. 

Q.  Who  are  powerful? 

A.  Love  gives  to  every  power  a double  power. 

Q.  What  shines  the  brightest? 

A.  How  far  that  little  candle  throws  its  beams. 

So  shines  a good  deed  in  a naughty  world. 


Q,  Who  cheat  themselves? 

A.  They  lose  the  world  who  buy  it  with  much  car*. 

Q.  What  is  worse  than  the  bite  of  a snake? 

A.  O,  sharper  than  a serpent’s  tooth  it  is 
To  have  a thankless  child. 

Q.  What  is  wine? 

A.  O,  thou  invisible  spirit  of  wine! 

Since  I know  not  what  name  to  call  thee  by 
I will  call  thee  devil. 

Q.  Does  heaven  honor  a king  more  than  a peasant? 

A.  The  sun  that  shines  on  his  palace,  shines  on  our 
cottage. 

Q.  Is  a man  always  good  because  he  smiles? 

A.  A man  may  smile  and  smile  and  be  a villain. 

Q.  Why  does  a villain  smile? 

A.  False  face  must  hide  what  the  false  heart  doth  know. 
Q.  Can  we  still  have  faith  in  goodness,  when  there  are  so 
many  hypocrites? 

A.  Angels  are  bright  still,  though  the  brightest  fell. 

Q.  What  tone  of  voice  is  the  most  winning  in  a woman? 
A.  Her  voice  was  always  soft,  gentle  and  low, 

An  excellent  thing  in  women. 

Q.  Who  is  a model  man? 

A.  Give  me  the  man  who  is  not  passion’s  slave 
And  I will  wear  h^m  in  my  heart  of  hearts. 

Q.  How  should  we  look  at  the  world? 

A.  Find  tongue  in  trees,  books  in  the  running  brooks, 
sermons  in  stones  and  good  in  everything. 

Q.  What  is  man? 

A.  What  a piece  of  work  is  man ! how  noble 
In  reason.  How  infinite  in  faculties! 

The  beauty  of  the  world! 

In  action  how  like  an  angel ! 

In  apprehension,  how  like  a god! 

Note. — It  has  not  been  my  object  here  to  cull  the  bright- 
est gems  from  Shakespeare,  but  simply  to  make  a little  string 
of  pearls,  which  will  be  suited  to  my  young  readers.  I hope 


29 


when  I meet  any  of  you,  I will  find  you  wearing  this  chain 
about  your  neck;  or,  better  still,  having  these  texts  on  the 
end  of  your  tongue. 


KISSING  RIDDLES. 

Q.  What  is  a soldier's  definition  of  a kiss? 

A.  A report  at  headquarters. 

Q.  What  shape  is  a kiss? 

A.  Elliptical.  (A  lip  tickle.) 

Q.  Why  are  two  girls  kissing  each  other  emblems  of 
Christianity? 

A.  They  do  to  one  another  as  they  would  that  men  should 
do  unto  them. 

Q.  Which  are  the  sweetest  kisses? 

A.  Those  that  are  siruptitiously  obtained. 

Q.  Why  don’t  a lady  want  a doctor  to  kiss  her? 

A.  Because  she  don’t  like  to  have  a doctor’s  bill  thrust  in 
her  face. 

Q.  How  do  girls  show  their  dislike  for  mustaches? 

A.  By  setting  their  faces  against  them. 

Q.  What  part  of  speech  is  kiss? 

A.  A conjunction. 


QUESTIONS  IN  SCIENCE. 

Q.  How  do  we  know  that  men  were  evolved  from  the  veg- 
etable kingdom? 

A.  Because  many  of  them  are  small  potatoes  still. 

Q.  Why  is  the  Milky  Way  in  the  sky? 

A.  Because  the  cow  jumped  over  the  moon  and  let  her 

milk  fly. 

Q.  Teacher  asked  boy,  “Why  does  the  sun  rise  in  the 

east?” 

A.  Because  ’east  makes  things  rise. 

Q.  How  do  we  know  that  heat  travels  faster  than  cold? 


30 


A.  Because  you  can  easily  catch  cold. 

Q.  Why  are  the  days  long  in  summer  and  short  in  winter? 

A.  Heat  expands  things  and  cold  contracts  them. 

Q.  What  class  of  people  have  more  bones  in  their  bodies 
than  others? 

A.  Those  that  live  on  fish. 

Q.  | Which  is  the  mother  of  the  chick,  the  hen  that  laid  the 
egg,  or  the  one  that  hatched  it? 

A.  The  hen  that  laid  the  egg. 

Q.  Why  is  the  oyster  the  wisest  of  animals? 

, A.  He  keeps  his  mouth  shut. 

Q.  Which  is  the  largest  bug? 

A.  Humbug. 

Q.  Preacher:  “My  son,  have  you  learned  in  your  natural 

history  what  flies  were  made  for?” 

A.  No,  but  old  Jones  says:  “They  keep  him  awake  when 

you  are  preaching.  “ 

Q.  Why  is  a caterpillar  like  a pancake? 

A.  Because  it’s  the  grub  that  makes  the  butter-fly. 

Q.  What  animal  carries  baggage? 

A.  The  elephant  carries  its  trunk. 

Q.  Lincoln  was  asked  how  long  a man’s  legs  ought  to  be 

be  the  most  serviceable?  He  said — 

A.  Long  enough  to  reach  the  ground. 

Q.  Barnum  had  in  his  museum  ten  horses  that  only  had 
/wenty-four  feet  in  all,  and  yet  traveled  as  well  as  other 
horses;  how  was  it  possible? 

A.  Twenty  fore  feet. 

Q.  If  I have  a bottle  nearly  filled  with  water,  and  well 
•aorked,  how  can  I get  out  the  water  without  drawing  the  cork 
or  breaking  the  bottle? 

A.  Pressing  the  cork  in  the  bottle. 

Q.  This  incident  shows  the  progress  of  science  in  our  own 
day : A friend  once  told  me  of  a young  man  who  studied  at  a 

New  England  college,  perhaps  fifty  years  ago,  and  who  one 
day  showed  his  professor  a bottle  which  contained  a large  ripe 
pear.  As  the  pear  was  much  larger  than  the  mouth  of  the 


31 


1 


bottle,  and  as  pears  were  not  yet  ripe,  the  professor  suspected 
witchcraft.  He  told  the  young  man  that  he  must  give  a 
Christian  explanation  of  the  mystery,  or  be  expelled  from 
school  for  practising  the  black  art.  How  did  the  student 
explain  it? 

A.  He  had  set  the  bottle  in  a pear  tree  and  passed  the  bud 
of  a pear  through  the  neck,  the  bottle  absorbed  the  rays  of  the 
sun  and  sheltered  the  pear  from  the  chilling  wind,  so  it 
ripened  prematurely. 

Q.  What  colors  can  a blind  man  feel? 

A.  Blue,  green  and  red-hot. 

Q.  According  to  Saxe,  why  are  the  proud  continually  irri- 
tated? 

A.  All  proud  flesh,  wherever  it  grows 
Is  subject  to  irritation- 


* PUZZLES  IN  SPELLING. 

Q.  Spell  live  mouse-trap  with  three  letters. 

A.  C-a-t  (cat). 

Q.  Spell  dried  grass  with  three  letters. 

A.  H-a-y  (hay). 

Q.  Spell  hard  water  with  three  letters. 

A.  I-c-e  (ice). 

Q.  Be  thoughtful  and  earnest,  kind-hearted  and  true. 
Spell  that  with  four  letters. 

A.  That. 

Q.  Children,  tell  me  what  is  meant  by  the  Golden  Rule, 
and  spell  it  with  two  letters. 

A.  It. 

Q.  How  do  you  pronounce  this  word,  bac-ka-che? 

A.  Back-ache. 

Q.  How  do  you  pronounce  to,  and  too,  and  two,  and  the 
first  syllable  of  the  second  day  of  the  week? 

A.  Mon.  The  second  day  in  the  week  is  Monday. 

Q.  What  word  is  shorter  when  you  add  a syllable  to  it? 

A.  Short.  * 


32 

Q.  Spell  Constantinople. 

A.  When  the  person  to  whom  you  give  this  riddle  comes 
to  the  fourth  syllable,  you  say,  “No,  no,”  to  make  him  think 
he  has  made  a mistake. 

Q.  Can  you  spell  coffee-pot  without  saying  tea-pot? 

A.  C-o-f’,  cof,  f-ee,  fee,  coffee,  p-o-t,  pot,  so  you  said  t pot. 
Q.  Make  one  word  of  the  letters  in  new  door. 

A.  One  word. 

The  Protean  nature  of  the  vowels  is  well  known,  but  the 
consonants  are  no  less  capricious  in  their  effect  on  sound,  as  a 
few  examples  will  show. 

Q.  What  makes  a road  broad?  , 

A.  The  letter  B. 

Q.  What  turns  a lover  into  clover? 

A.  The  letter  C. 

Q.  What  changes  the  lower  regions  into  the  flower  re- 
gions? 

A.  The  letter  F. 

Q.  What  changes  a pear  into  a pearl? 

A.  The  letter  L. 

Q.  What  turns  a word  into  a sword,  and  turns  laughter 
into  slaughter? 

A.  The  letter  S. 

Q.  What  is  the  difference  between  here  and  there? 

A.  T. 

Q.  What  changes  a lad  into  a lady? 

A.  Y. 


GYMNASTICS  FOR  THE  TONGUE. 

Q.  Say  this  several  times  as  rapidly  and  distinctly  as  you 
can:  “She  sells  sea  shells,”  and  this  also,  “John  sawed  six 

slick,  sleek,  slim,  slender  saplings.” 

A.  Say  it  until  your  tongue  does  not  trip  or  slip. 


33 


MATHEMATICAL  AND  PRACTICAL  PUZZLES. 

Q.  Which  is  the  more,  six  dozen  dozen  or  half  a dozen 
dozen? 

A.  Six  dozen  dozen  are  72  dozen;  but  a half  a dozen 
dozen  are  6 dozen. 

Q.  I asked  a woman  how  many  ducks  she  had;  she  said: 
“Just  now  as  they  ran  down  the  path  to  the  pond,  I saw  there 
was  a duck  in  front  of  two  ducks,  a duck  behind  two  ducks 
and  a duck  between  two  ducks.  How  many  were  there? 

A.  Three. 

Q.  A certain  room  has  eight  corners ; in  every  corner  sits 
a cat  on  every  cat's  tail  sits  a cat,  and  before  each  cat  is  a cat. 
How  ynany  cats  in  the  room? 

A.  Eight  cats. 

Q.  Arrange  the  nine  digits  in  a solid  square,  making  three 
rows  of  three  figures  each,  and  dispose  the  figures  in  such 
order  that  the  sum  of  each  row  will  be  15,  adding  them  either 
horizontally,  vertically  or  obliquely,  making  the  sum  15  eight 
different  ways. 

A.  294 

7 5-3 
618 

Q.  If  a herring  and  a half  cost  a cent  and  a half,  what 
will  12  ]/2  herrings  cost? 

A.  123^  cents. 

Q.  If  a hen  and  a half  lay  an  egg  and  a half  in  a day  and 
a half,  how  many  eggs  will  six  hens  lay  in  seven  days? 

A.  28  eggs. 

Q.  A man  sent  his  boy  into  the  orchard  to  get  a pan  of 
apples,  and  he  said:  “Give  me  half  the  apples  and  one-half 
an  apple  more ; then  give  your  mother  half  the  remainder 
and  half  an  apple  over,  and  your  sister  half  the  balance  and 
half  an  apple  besides,  and  have  one  apple  left  for  yourself;” 
how  many  apples  must  he  pick? 

A.  15  apples. 

Q.  Tom  lives  80  rods  east  of  a school-house,  and  Dick  8© 
Tods  west  of  it,  Harry  60  rods  south,  and  Jack  60  rods  north; 


3^ 


this  morning  Tom  takes  an  early  start ; he  taxes  the  shortest 
cut  to  Harry’s  house,  and  the  two  boys  cut  across  to  Dick’s 
house;  the  three  go  the  nearest  way  to  Jack,  then  they  go  di- 
rectly to  the  school-house;  how  many  rods  has  Tom  traveled? 

A.  When  the  base  of  a right  angle  triangle  is  80  rods  and 
the  perpendicular  60,  the  hypothenuse  is  ioo  rods,  which  is 
the  distance  from  house  to  house.  He  walked  360  rods. 

Q.  A man  wishes  to  cross  the  river  with  a fox,  a goose 
and  some  corn,  and  can  only  take  one  at  a time  in  his  little 
boat ; if  he  should  leave  the  fox  with  the  goose  ^he  would  eat 
the  goose,  and  if  he  should  leave  the  goose  with  the  corn  she 
would  eat  the  corn;  how  will  he  get  across  with  all? 

A.  He  takes  the  goose  first,  then  the  fox,  and  brings  the 
goose  back  with  him;  then  carries  the  corn  over  and  comes 
back  after  the  goose. 

Q.  John  and  Jim,  Tom  and  Tim  wished  to  cross  a rive~- 
John  and  Jim  weigh  100  lbs.  each;  Tom  and  Tim  weigh  50  lbs. 
each,  and  the  boat  will  only  carry  100  lbs;  how  will  they  cross? 

A.  Tom  and  Tim  go  over  together,  Tom  comes  back, 
then  John  goes  over  and  Tim  comes  back,  then  Tom  and  Tim 
go  over  again  and  Tom  comes  back;  now  Jim  goes  over  and 
Tim  comes  back,  then  Tom  and  Tim  go  over. 

Q.  Three  jealous  couples  in  their  journey  came  to  a river; 
the  boat  will  only  carry  two  persons,  and  no  man  wants  any 
other  man  to  speak  to  his  wife ; how  do  they  get  over? 

A.  Two  women  go  over  and  one  comes  back,  two  women 
go  over  again  and  one  comes  back,  then  two  men  go  over  to 
their  wives;  then  a man  and  his  wife  come  back,  now  two  men 
go  over  and  the  woman  comes  back ; next  two  women  go  over, 
then  the  other  man  comes  after  his  wife. 

Q.  A man  buys  a pair  of  shoes  for  $3.00  and  hands  the 
shoemaker  a $10  bill, .he  goes  into  the  grocery  to  have  it 
changed;  he 'comes  back  and  gives  the  man  $7.00;  when  the 
man  has  gone  the  grocer  comes  in  and  says,  “That  was  a 
counterfeit  bill  you  gave  me.”  The  shoemaker  gives  him  a 
good  bill;  bow  much  has  the  shoemaker  lost? 

A.  Seven  dollars  and  the  shoes. 


35 


1 

Q.  A mother  sends  her  boy  to  the  spring  for  a quart  of 
water;  she  has  no  quart  measure  and  no  pint  measure,  but 
she  gives  him  a three-quart  can,  and  a five-quart  can ; how 
does  he  manage  to  get  a quart? 

A^.  He  fills  the  three-quart  cfan  and  pours  it  into  the  five, 
then  he  fills  it  again  and  pours  into  the  five-quart  can  until  it 
is  full,  which  leaves  him  a quart. 

Q.  A man  has  an  eight-gallon  cask  of  wine  and  wants  to 
get  half  of  it  in  a five-gallon  cask,  and  he  oijly  has  a three- 
gallon  measure;  how  does  he  do  it? 

A.  He  fills  the  measures  twice  and  pours  into  the  small 
cask  till  it  is  full,  which  leaves  a gallon  in  the  measure ; he 
then  lifts  up  the  small  cask  and  pours  it  back  into  the  large 
one ; now  he  pours  the  one  gallon  into  the  small  cask  and  a 
measure  besides. 

Q.  A farmer  buys  ioo  head  of  young  stock  with  $100; 
calves  are  $10  a head,  pigs  $3.00  and  lambs  50  cents;  how 
many  of  each  does  he  ouy? 

A.  Five  calves,  1 pig,  94  lambs. 

Q.  Suppose  a train  leaves  New  York  every  morning  for 
San  Francisco  and  one  leaves  San  Francisco  every  morning 
for  New  York,  and  it  takes  them  seven  days  to  make  the  trip; 
then,  in  going  from  Nfevf  York  to  San  Francisco,  how  many 
trains  will  you  meet? 

A.  Fourteen  trafeis;  all  those  that  leave,  this  week  and 
those  that  left  last  week  which  are  still  on  the  way. 

Q.  Take  six  matches  and  so  place  them  as  to  make  four 
triangles  without  crossing  the  matches. 

A.  Lay  three  of  them  on  the  table  in  the  form  of  a trian- 
gle; then  place  one  erect  at  each  corner  and  bring  them 
together  at  the  top,  and  you  will  have  a pyramid  whose  base 
and  three  sides  are  triangles. 

Q.  A frog  is  at  the  foot  of  the  bank  four  feet  high ; he 
climbs  up  two  feet  a day,  and  slips  back  one  foot  at  night ; how 
many  days  will  it  take  him  to  climb  up? 

A.  Three  days. 

Q.  A frog  sits  in  a hole  in  the  center  of  a forty-acre  field; 


he  goes  three  feet  at  every  jump;  how  many  jumps  will  take 
him  out? 

A.  One  jump  will  take  him  out  of  the  hole. 

Q.  A squirrel  sits  at  the  bottom  of  an  oak  tree  twenty 
feet  high ; he  goes  up  a foot  every  day ; how  long  will  it  take 
him  to  get  to  the  top? 

A.  He  goes  up  afoot  (on  his  feet)  every  day. 

Q.  A lady  had  a cross  which  was  composed  of  jewels;  she 
took  it  to  an  artist  for  repairs  and  had  the  precaution  to  count 
the  jewels;  she  found  twelve  in  the  long  piece,  and  in  count- 
ing from  the  foot  to  the  end  of  either  arm,  there  were  also 
twelve ; the  jeweler  purloined  two  gems,  but  so  arranged  the 
rest  that  the  count  was  not  changed;  how  did  he  manage 
this? 

A.  He  took  one  gem  from  the  end  of  each  arm,  then  re- 
moved the  one  at  the  top  to  the  foot  of  the  cross. 

Q.  If  you  take  a strip  of  wood  forty  inches  long  and  one 
inch  wide,  and  cut  off  fifteen  inches  and  fasten  it  across  the 
long  piece  six  inches  from  one  end;  then  the  arms  of  the  cross 
will  measure  seven  inches  each  and  the  long  piece  eighteen 
inches;  but  18  and  7 and  7 and  6 are  38;  what  has  become  of 
the  other  two  inches? 

A.  There  is  an  inch  in  each  piece  where  they  cross  each 
other. 

Q.  I heard  a man  say  he  had  crossed  the  Atlantic  nine- 
teen times,  yet  he  was  born  here ; how  could  he  cross  an  odd 
number  of  times  and  be  here  again? 

A.  He  went  over  and  back  eight  times,  and  around  the 
world  three  times. 

Q.  Why  does  your  birthday  not  come  on  the  same  day  of 
the  week  every  year,  but  always  a day  or  two  later? 

A.  Three  hundred  and  sixty-five  days  are  52  weeks  and 
one/day  over,  and  in  leap-year  there  are  two  days  over. 

Q.  Where  does  the  day  begin?  On  what  part  of  the  globe 
do  people  first  say,  “Now  it  is  Christmas;  now  it  is  the  first 
of  May!” 

A.  In  central  Europe. 


37 


1 

LYING  FIGURES. 

People  think  figures  can’t  lie,  and  that  all  parts  of  a math- 
ematical problem  are  consistent  with  each  other,  but  because 
of  this  belief  nothing  is  so  misleading  as  figures  can  be,  both 
in  the  form  of  false  statistics  and  subtle  problems.  Indeed,  a 
problem  may  be  made  to  contradict  itself,  and  it  takes  a sharp 
eye  to  detect  the  cheat. 

Q.  Achilles  pursues  a tortoise;  he  is  ioo  paces  behind  at 
first,  but  runs  ten  times  as  fast;  still  when  he  has  gone  a hun- 
dred paces  the  tortoise  has  gone  ten,  and  while  he  goes  ten  the 
tortoise  goes  one,  while  he  goes  one  the  tortoise  goes  one- 
tenth  of  one,  and  so  forever;  the  tortoise  always  being  a tenth 
of  the  last  distance  ahead,  yet  we  know  that  Achilles  could 
soon  overtake  the  tortoise.  Where  is  the  fallacy? 

A.  The  fallacy  lies  in  assuming  that  Achilles  takes  a 
tenth  of  a pace  and  a hundredth  part  of  a pace.  He  takes  full 
paces,  not  fractions.  He  takes  112  paces. 

Q.  In  a certain  hotel  there  are  eleven  bedrooms,  and 
twelve  travelers  apply  for  lodging.  The  landlord  says  to  one 
man,  “If  you  will  wait  until  I have  assigned  the  rest,  I will 
have  a room  for  you;’’  so  he  puts  the  second  man  in  the  first 
room,  the  third  in  the  second,  and  so  on  until  the  eleventh 
man  is  in  the  tenth  room ; then  he  says  to  the  twelfth  man 
who  is  waiting,  “Now  you  can  go  into  room  u.“ 

A.  The  first  man  was  left  out. 

Q.  Mother  Thrifty  and  her  daughter  Dollie  drive  60  ducks 
to  market,  each  driving  30;  Mother  Thrifty  is  eager  for  a 
trade,  and  hurries  on  with  her  thirty,  and  reaches  the  market 
early,  when  ducks  are  in  demand.  She  sells  them  at  one  dol- 
lar a brace;  but  Dollie  dawdles  along  the  road,  and  when  she 
arrives  the  market  is  supplied  so  she  only  receives  one  dollar 
for  every  three.  On  the  -way  home  the  mother  says,  “I  got  a 
dollar  for  two,  and  you  a dollar  for  three,  which  makes  two 
dollars  for  five  ducks ; but  sixty  is  twelve  times  five,  so  we 
must  have  twelve  times  two  dollars  or  twenty-four,”  but  on 
counting  their  money  they  found  they  had  twenty-five  dollars. 
Why  this  discrepancy? 


38 


\ 

A.  They  did  not  sell  them  in  twelve  lots  of  five  each,  for 
Bolfie’s  ducks  were  gone  after  ten  sales,  when  her  mother  still 
had  ten  ducks  to  sell. 


LAME  LOGIC. 

A man  often  reaches  an  absurd  conclusion,  after  a great 
show  of  argument,  because  his  reasoning  is  based  on  appear- 
ance and  sound,  instead  of  fact  and  common-sense.  The 
sophist  may  be  called  a great  reasoner,  and  yet  not  have  a 
grain  of  sense. 

Q.  Why  is  the  wind  blind? 

A.  The  wind  is  a breeze,  a breeze  is  a zephyr,  zephyr  is 
yarn, a yarn  is  a tale,  a tale  is  an  appendage,  an^ppendage  is  an 
attachment,  an  attachment  is  love  and  love  is  blind,  therefore 
the  wind  is  blind. 

Q.  Why  is  the  bed  the  most  dangerous  place  in  the  world? 

A.  Most  people  die  in  bed. 

Q.  How  can  you  prove  that  a cat  has  nine-tails? 

A.  One  cat  has  one  tail  and  no  cat  has  eight  tails,  but 
one  cat  and  no  cat  are  one  cat,  and  one  tail  and  eight  tails  are 
nine  tails. 

Q.  A biped  is  a creature  with  two  legs ; a goose  has  two, 
and  you  have  twoAtherefore  you  are  a goose.  Why  not? 

A.  It  takes  something  besides  legs  to  make  a man  or  a 
goose.  The  conclusion  should  have  been,  you  are  like  a goose 
in  one  respect. 

Q.  Zeno  said,  “Motion  is  impossible.”  A body  cannot 
move  in  the  place  where  it  is,  for  the  place  is  no  larger  than 
the  body,  and  it  cannot  move  in  another  place  because  it  is 
not  there. 

A.  But  it  can  move  out  of  one  place  into  another. 


A MUSICAL  CATECHISM. 

Q.  What  is  the  key  of  good  manners? 

A.  B- natural. 


39 


Q.  Who  is  the  greatest  composer? 

A.  Sleep. 

Q.  What  is  a slur? 

A.  A mean  remark  of  one  musician  about  another. 

Q.  What  is  a rest? 

A.  Going  out  of  the  choir  during  sermon  time  for  refresh- 
ments. 

Q.  What  is  meant  by  singing  with  the  understanding? 

A.  Beating  the  time  with  your  feet. 

Q.  What  is  a staccato  movement? 

A.  Leaving  the  choir  in  a huff  because  you  are  offended. 
Q.  What  is  a swell? 

A.  A conceited  young  professor  of  music. 

Q.  Why  is  an  important  young  lady  like  a music  book? 

A.  She  is  full  of  airs. 


PALINDROMES. 

A Palindrome  is  a sentence  which  can  be  read  backwards 
as  well  ^as  forwards,  and  the  meaning  be  the  same.  In  read- 
ing from  right  to  left,  spell  the  words  backwards. 

Q.  According  to  Sidney  Smith,  how  did  Adam  introduce 
himself  to  Eve? 

A.  Madam,  I’m  Adam. 

Q.  How  could  Napoleon  speak  of  himself  in  a palindrome 
beginning  with  the  word  able? 

A.  Able  was  I ere  I saw  Elba. 


ACROSTIC. 

An  Acrostic  is  a stanza  so  written  that  the  first  letters  of 
the  lines,  taken  together,  spell  a name  or  some  other  word. 
I will  give  one  on  a masculine  name,  one  on  a feminine  and 
one  a young  man’s  age,  as  I wrote  it  for  his  birthday. 
q Faithful  to  your  daily  trust 

Ready  at  your  duties’  call, 

Always  gentle,  always  just, 

Never  mean,  and  never  small. 

Kind  and  true  you  are  to  all. 


A Frank. 


0- 


A.  Mary. 


Many  golden-hearted  friends 
Ah,  so  precious  and  so  true; 
Rare  and  dear  Our  Father  send; 
Yet  no  better  friend  than  you. 


A. 


Tugging,  pulling,  pushing  ever 
With  a will  that  Fate  defies; 
Energy  that  tires  never, 

Never  wavers,  falters  never 
That’s  the  only  way  to  rise. 

Yes,  and  I repeat  it,  sir, 

Faith  in  God  and  faith  in  grit, 
Overleap  each  yawning  pit. 

Undermine  each  barrier; 

Robe  and  crown  the  conqueror. 

Twenty-four. 


SQUARING  A WORD. 


Q.  Arrange  several  words  in  a square  so  that  they  will 
read  the  same  horizontally  and  vertically.  The  old  problem 
of  squaring  the  circle  is  solved  thus: 


CIRCLE 
I C A R 0 S 
RAREST 
CREATE 
LUSTRE 
ESTEEM 

A.  Make  some  small  squares  yourself,  as 

CAT  BOY  MAN  PIN 

APE  ONE  AXE  ICE 

TEA  YES  NEW  NEW 


4J 


A CURIOSITY. 

In  the  following,  the  initial  capitals  spell,  4 ‘My  boast  is  in 
the  glorious  cross  of  Christ."  The  words  in  capitals,  when 
read  from  top  to  bottom,  and  bottom  to  top,  form  the  Lord’s 
Prayer. 

Q.  Make  known  the  Gospel  truths,  OUR  Father  king, 

Yield  up  thy  grace,  dear  FATHER,  from  above, 

Bless  us  with  hearts  WHICH  feelingly  can  sing, 

“Our  life  thou  ART  for-EVER  God  of  Love!”  1 

Assuage  our  grief  IN  love  FOR  Christ  we  pray, 

Since  the  bright  Prince  of  HEAVEN  and  GLORY  died, 

Took  all  our  sins  and  HALLOWED  THE  display. 

Infant  BE-ing  first,  a man,  AND  then  was  crucified. 

Stupendous  God ! THY  grace  and  POWER  make  known ; 

In  Jesus’  NAME  let  all  THE  world  rejoice. 

NOW  labor  in  THY  heavenly  KINGDOM  own, 

That  blessed  KINGDOM  for  thy  saints  THE  choice. 

How  vile  to  COME  to  Thee  IS  all  our  cry; 

Enemies  to  THY-self  and  all  that’s  THINE, 

Graceless  our  WILL,  we  live  FOR  vanity, 

Loathing  thy  very  BE-ing,  EVIL  in  design. 

O God,  thy  will  be  DONE  FROM  earth  to  heaven; 

Reclining  ON  the  Gospel  let  US  live 
In  EARTH  from  sin  DELIVER-ed  and  forgiven, 

Oh,  AS  Thyself  BUT  teach  us  to  forgive. 

Unless  IT-s  power  TEMPTATION  doth  destroy, 

Sure  IS  pur  fall  INTO  the  depths  of  woe. 

Carnal  IN  mind,  we’ve  NOT  a glimpse  of  joy 

Raised  against  us  HEAVEN : in  US  hope  we  can  flow. 

O,  GIVE  us  grace  AND  LEAD  us  on  Thy  way; 

Shine  on  US  with  Thy  love,  and  give  US  peace: 

Self  and  THIS  sin  that  rise  AGAINST  us  slay, 

Oh,  grant  each  DAY  our  TRESPASS-es  may  cease. 

Forgive  OUR  evil  deeds  THAT  oft  we  do, 

Convince  us  DAILY  of  THEM  to  our  shame. 

Help  us  with  heavenly  BREAD,  FORGIVE  us,  too 
Recurrent  lusts,  AND  WE ’ll  adore  Thy  name. 

In  the  FORGIVE-ness,  we  AS  saints  can  die, 

Since  for  US  and  our  TRESPASSES  so  high, 

Thy  Son,  OUR  Savior,  bled  on  Cavalry. 

A.  Find  all  the  letters  of  the  verse  and  the  words  of  the 
prayer. 


A POEM  BY  TWENTY  POETS. 


Q.  Why  all  this  toil  for  triumph  of  an  hour? — Yeung. 

Lifers  a short  summer,  man’s  a flower. — Dr.  Johnson. 

By  turns  we  catch  the  vital  breath  and  die. — Pope. 

The  cradle  and  tomb,  alas!  so  nigh. — Prior. 

To  be  is  better  far  better  than  not  to  be. — Sewell. 

Though  all  man’s  life  may  seem  a tragedy; — Spencer. 

Your  fate  is  but  the  common  fate  of  all; — Longfellow. 

Unmingled  joys  here  to  no  man  befall. — Southwell. 

Live  well ; how  long  or  short,  permit  to  heaven ; — Milton. 

They  who  forgive  most  shall  be  most  forgiven.  —Bailey. 

Then  keep  each  passion  down,  however  dear; — Thompson. 

Thou  pendulum  betwixt  a smile  and  tear. — Byron. 

Soar  not  too  high  to  fall,  but  stoop  to  rise; — Massinger. 

■We  masters  grow  of  all  that  we  despise. — Cowley. 

Think  not  ambition  wise  because  ’tis  brave, — Davenawt. 

The  paths  of  glory  lead  but  to  the  grave. — Gray. 

How  long  we  live  not  years  but  actions  tell: — Watkins. 

That  man  lives  twice  who  lives  the  first  life  well. — Herrick. 

The  trust  that’s  given  guard,  and  to  yourself  be  just; — Dana. 

For,  live  we  how  we  can,  yet  die  we  must. — Shakespeare. 

A.  Have  your  friends  name  the  authors  as  you  read  the> 
lines. 


PLAYING  WITH  PUNS. 

One  person  in  the  company  mentions  a name  which  sig- 
nifies something,  as  Brown.  Another  responds  with  a kin- 
dred name,  as  White.  A few  names  from  the  New  York 
directory  will  be  suggestive : Hale,  Hearty,  Sick;  Shepherds, 

Flock,  Lamb;  Christian,  Sinner,  Devil;  Pilgrim,  Staff;  Noah, 
Ark,  Car,  Driver;  Mean,  Lovely;  Constable,  Club;  Canary, 
Singer;  Hen,  Chick;  Clock,  Hands;  Widow,  Maid;  Redhead, 
Whitehead;  Shoemaker,  Skinner;  Herring,  Sucker. 

Try  to  make  some  groups  of  names  yourself 


43 


I 

A READING  PUZZLE. 

Q.  I’ll  prove  the  word  that  I’ve  made  my  theme 
Is  that  that  may  be  doubled  without  blame ; 

And  that  that  that  thus  trebled  I may  use, 

And  that  that  that  that  critics  may  abuse 
May  be  correct.  Further — the  dons  to  bother — 

Five  thats  may  closely  follow  one  another ; 

For  be  it  known  that  we  safely  write 

Or  say,  that  that  that  that  that  man  writ  was  right ; 

Nay,  e’en  that  that  that  that  that  that  followed 
Through  six  repeats  the  grammar’s  rule  has  hallowed, 

And  that  that  that  (that  that  that  that  began), 

' Repeated  seven  times  is  right ! Deny ’t  who  can? 

A.  Read  it  until  you  make  sense. 

Q.  How  can  you  get  rid  of  a caller  who  don’t  know  when 
to  go? 

A.  Do  as  Longfellow  used  to  do ; invite  them  out  to  see 
the  view  from  the  piazza,  after  which  it  is  easier  to  go  than  to 
return  to  the  hou  se. 

Q.  When  are  two  friends  half-witted? 

A.  When  they  have  an  understanding  between  them. 

Q.  Which  is  the  grand  seat  of  learning? 

A.  The  seat  of  a boy’s  pants,  for  it  is  that  to  which  the 
schoolmaster  applies  himself.  Until  recent  times  when  a boy 
was  sent  to  a teacher  it  was  customary  to  say:  “He  is  put 

under  his  ferrule.” 

• Q.  During  the  “Woman’s  Crusade”  Beecher  was  asked 
what  he  thought  of  women  leaving  their  homes  and  meddling 
with  men’s  affairs.  He  said — 

A.  “I  don’t  see  any  use  in  always  keeping  a gun  loaded; 
if  women  are  loaded  with  reform  let  them  unload.” 

Q.  He  says:  “A  good-hearted  man  is  more  apt  to  become 

dissipated  than  a mean  man,  because ” 

A.  “Sweet  things  spoil  more  easily  than  sour  things;  and 
warm  things  more  easily  than  cold  things.” 

Q.  Why  is  it  proper  to  include  women  when  we  say  man- 
kind, or  all  men? 

A.  Because  man  embraces  woman. 


44 


Q.  Who  is  the  oldest  lunatic? 

A.  Time  out  of  mind. 

Q.  We  say:  “Strike  while  the  iron  is  hot.”  But  what 

did  Cromwell  say? 

A.  “Not  only  strike  while  the  iron  is  hot,  but  make  it  hot 
by  striking.  Don’t  simply  improve  a chance  when  you  have 
it,  but  make  a chance.” 

Q.  Why  are  newspapers  reliable? 

A.  They  lie,  then  they  lie  again,  or  they  re-lie,  and  so  are 
re-li-able. 

Q.  To  relieve  the  sting  of  the  last  riddle,  I ask,  “Why  is 
the  printing  press  the  tree  of  life?” 

A.  It  brings  forth  leaves  for  the  healing  of  the  nations. 

Q.  Behind  the  barn  at  early  morn 

I heard  a herald  blow  his  horn. 

His  beard  was  flesh,  his  month  was  horn. 

The  like  of  him  was  never  born. 

A.  Rooster.  (Hatched,  not  born.) 

Q.  “Variety  is  the  spice  of  life,”  we  say,  but  we  cannot 
live  on  spice.  What,  then,  is  the  food  of  life? 

A.  Uniformity;  pur  regular  work;  our  daily  bread,  our 
old  friends  and  common  faith.  Order  is  better  than  novelty. 
Common  things  are  the  best. 

Q.  On  what  condition  would  women  wear  men's  clothes? 

A.  If  it  were  the  fashion. 

Q.  On  what  condition  would  all  men  be  charitable? 

A.  If  they  would  see  ten  per  cent.,  in  it. 

Q.  A man  bought  a coat  &nd  found  it  too  short,  but  his 
wife  assured  him — 

A.  It  would  be  long  before  he  had  another. 

Q.  On  the  first  of  July,  1891,  a train  ran  off  the  great 
bridge  at  St.  Louis  and  no  one  was  killed  or  injured.  How 
was  it  possible? 

A.  It  ran  off  the  bridge  as  usual  and  went  on  its  way. 

Q.  Why  is  a dead  hen  better  than  a live  one? 

A.  She  will  lay  wherever  you  put  her. 


45 


Q.  Here  is  a sample  of  my  first  attempt  at  riddle  making 
when  I was  a boy  about  fourteen  or  less: 

We  are  seven  busy  brothers 
Laboring  every  day. 

Always  helping  others 

In  everything  they  say. 

The  first  in  the  Amazon  doth  dwell. 

The  second  in  Egypt  has  a cell, 

The  third  in  Ireland  makes  his  home. 

The  fourth  of  us  resides  in  Rome, 

The  fifth  and  seventh  are  in  you, 

The  sixth  is  everywhere  in  view. 

A.  The  vowels. 

Q.  Perhaps  this  is  the  first  original  riddle  with  which  I 
amused  myself  at  the  expense  of  my  playmates.  From  one 
million  substract  1,000,  i,  50,  50  and  1. 

A.  The  numbers  to  be  subtracted  are  represented  by 
MILLI;  take  these  letters  from  the  word  million  and  you 
have  left  the  word  on,  so  when  the  boys  told  me  their  remain- 
der, I said:  “Guess  on,  guess  on.”  When  they  gave  it  up  I 

said:  “I  have  been  telling  you  the  answer;  it  is  ‘on.’  ” 

Q.  Why  is  the  tongue  like  a horse? 

A.  It  must  be  bridled. 

Q.  “Mamma,  papa  can’t  go  to  heaven,  can  he?”  “Why, 
my  child?’  ’ * * Because . * ’ 

A.  He  can’t  leave  the  store. 

Q.  Who  are  the  best  book-keepers? 

A.  The  people  who  never  return  a book. 

Q.  Whabare  the  three  degrees  of  a mining  speculation? 

A.  Positive,  mining;  comparative,  minor;  superlative, 
minus. 

Q.  Why  is  Blackstone  like  an  Irish  vegetable? 

A.  He  is  a commontator. 

Q.  What  is  a counter-irritant? 

A.  A woman  shopping. 

Q.  Why  is  a girl  in  love  like  an  arrow? 

A.  She  is  in  a quiver  until  her  beau  comes. 

Q.  How  can  you  have  a set  of  teeth  inserted  gratis? 


46 


- 

A.  Kick  a bull-dog. 

Q.  What  is  the  dryest  subject-? 

A.  A mummy. 

Q.  Why  are  women  wicked?  4 

A.  They  hook  their  dresses,  steel  their  petticoats,  and  crib  I 
their  babies. 

Q.  What  consolation  has  a homely  girl? 

A.  She  will  be  a pretty  old  one  if  she  lives  long. 

r 

Q.  v I saw  you  where  you  never  were, 

And  where  you  could  not  be, 

And  yet  within  that  very  place 
Your  face  I often  see. 

A.  In  the  mirror. 

Q,  Instead  of  complaining  when  it  rains  we  should  do  so 
as  they  do  in  Spain,  and  what  is  that? 

A.  Let  it  rain. 

Q.  What  does  the  Chinaman  say  in  answer  to  the  question, 
“What  are  the  wild  waves  saying?” 

A.  \Washee;  washee. 

Q.  Would  you  rather  be  a bigger  fool  than  you  seem,  or 
rather  seem  to  be  a bigger  fool  than  you  are? 

A.  Whichever  horn  of  this  dilemma  a person  chooses 
when  you  ask  the  question  you  reply:  “That  would  be  impos- 

sible. ” 

Q.  What  is  the  difference  between  the  death  of  a barber 
and  the  death  of  a sculptor? 

A.  One  curls  up  and  dyes;  the  other  makes  faces  and 
busts. 

Q.  What  poet  does  everybody  want? 

A.  Moore  (more). 

Q.  Pat  said,  “There  was  nothing  wonderful  about  the 
great  fall  of  Niagara,”  because — 

A.  There  was  nothing  to  hinder  the  fall. 

Q.  What  increases  its  value  one-half  when  turned  upside 
down? 

A.  Figure  6. 


47 


Q.  Why  is  the  board  of  trade  a den  of  wild  beasts? 

A.  The  members  are  bulls  and  bears. 

Q.  In  the  opinion  of  a negro  preacher,  why  did  Jesus  learn 
the  carpenter’s  trade? 

A.  That  he  might  build  mansions  for  his  people  in  heaven. 
Q.  Why  does  a doctor  not  get  sea- sick? 

,V.  He  is  used  to  see-sickness. 

Q.  Why  was  Henry  VIII.  a peculiar  suitor? 

A.  He  married  his  wives  and  axed  them  afterwards. 

Q.  What’s  the  difference  between  a soldier  and  a belle? 

A.  One  faces  the  powder  and  the  other  powders  the  face. 
Q.  Why  is  an  old  man  easily  robbed? 

A.  His  gait  is  broken  and  his  locks  are  few  (locks  of  hair). 
Q.  Why  is  a cat’s  tail  like  the  world? 

A.  It’s  fur  to  the  end. 

Q.  Why  are  penmakers  rascals? 

A.  Because  they  make  people  steel  pens  and  tell  them 
they  do  write. 

Q.  Why  is  a fool’s  pate  like  a drum? 

A.  It  is  empty,  and  good  for  nothing  but  noise. 

Q.  Is  it  ever  correct  to  say,  “This  ’ere”  and  “that’er?” 

A.  Yes,  when  you  mean  this  ear  and  that  air. 

Q.  What  does  everybody  give  and  few  take? 

A.  Advice. 

Q.  I can  throw  an  egg  against  the  wall 
And  it  will  neither  break  nor  fall. 

A.  The  wall  will  not  break. 

Q.  Why  do  women  carry  parasols? 

A.  The  sun  is  of  the  masculine  gender,  and  they  cannot 
endure  his  ardent  glances. 

Q.  When  a smoker  promises  to  quit,  what  does  the  prom- 
ise usually  end  in? 

A.  Smoke.  He  smokes  again.  v 

Q.  Made  years  ago,  yet  made  to-day. 

Employed  while  others  sleep. 

Which  none  would  want  to  give  away. 

And  none  would  wish  to  keep. 

A bed 


A. 


48 


Q.  A blind  beggar*  had  a brother  and  the  brother  died 
the  man  that  died  had  no  brother. 

A.  The  beggar  was  a woman. 

Q.  Of  what  did  Ling  die  when  he  swallowed  the  bomb? 

A.  Shooting  off  his  mouth. 

Q.  How  can  a man  be  his  own  grandfather? 

A Smith  had  a son  John;  John  married  a widow  who 
had  a grown  daughter;  old  Smith  married  the  daughter,  and 
so  he  became  John’s  son;  but  John’s  father  must  be  grand- 
father to  John’s  son,  therefore  Smith  is  grandfather  to  himself. 
Q.  What  gives  a cold,  cures  a cold  and  pays  the  doctor? 
A.  A draught. 

Q.  Why  is  a quarrel  like  a bargain? 

A.  Takes  two  to  make  it. 

Q.  What’s  the  difference  between  a cat  and  a book? 

A.  One  has  the  claws  at  the  end  of  the  paws,  and  the 
other  has  the  pause  at  the  end  of  the  clause. 

Q.  Why  does  more  corn  grow  in  crooked  rows  than  in 
straight  ones? 

A.  There  are  more  crooked  rows. 

Q.  » I often  murmur,  but  never  weep ; 

Always  lie  in  bed,  but  never  sleep. 

My  mouth  is  larger  than  my  head. 

And  much  discharges,  though  never  fed; 

1 have  no  feet,  yet  swiftly  run ; 

The  more  falls  I get,  move  faster  on. 

A.  A river. 

Q.  When  does  one  become  soured? 

A.  When  he  is  in  a pickle. 

Q.  Where  did  Humboldt  go  on  his  thirty-ninth  birthdayt 
A.  In  his  fortieth  year. 

Q.  Of  what  disease  will  a cold  water  hobbyist  die? 

A.  Water  on  the  brain. 

Q.  Archimedes  said,  “Give  me  a standing  place  and  I 
will  move  the  earth  with  a lever.  ’ ’ Goethe  solved  the  problem. 
How? 

A.  Make  good  thy  standing-place  and  move  the  world. 


\ 


49 


Q.  Why  is  a woman  like  a locomotive  * 

A.  She  makes  a terrible  noise  when  she  whistles. 

Q.  When  is  it  right  to  lie? 

A.  When  you  are  in  bed.1 

Q.  What  encouragement  does  the  Bible  give  to  a tobacco 
chewer? 

A.  He  that  is  filthy  let  him  be  filthy  still. 

Q.  What  always  goes  with  a wagon  that  is  no  part  of  it 
and  of  no  use  to  it? 

A.  The  noise  it  makes. 

Q.  McClelland’s  hands  were  always  tied  with  rules  ana 
forms.  The  story  goes  that  he  once  telegraphed  to  Lincoln, 
“I  have  captured  a hundred  cows;  shall  I milk  them?” 
Promptly  came  the  reply — 

A.  Suck  ’em,  George;  you  are  the  biggest  calf  in  the 
army. 

Q.  What  is  gratitude? 

A.  The  memory  of  the  heart. 

Q.  Why  do  women  have  no  beards? 

A.  A crusty  old  bachelor  says,  “Their  tongues  are  so  long 
that  in  shaving  themselves  they  would  cut  their  tongues.” 

Q.  What  is  Eternity? 

A.  A day  without  yesterday  or  to-morrow. 

Q.  A bet  that  he  could  eat  more  oysters  than  B;  A ate 
ninety  in  a week,  B ate  a hundred  and  one.  How  many  more 
did  B eat  than  A? 

A.  Ten.  He  ate  a hundred  and  won. 

Q.  How  does  the  average  Yankee  answer  the  question, 
‘What  is  the  chief  end  of  man?” 

A.  Keep  all  you’ve  got  and  get  all  you  can. 

Q.  There  was  a man  who  was  not  born. 

His  father  was  not  before  him 
He  did  not  live,  he  did  not  die. 

His  epitaph  is  not  o’er  him. 

A A man  by  the  name  of  Nott. 

Q.  A sleeper  in  a sleeper  over  a sleeper. 


A.  First,  a man  asleep;  second,  sleeping  car;  third,  a 
beam  under  the  rail. 

Q.  Preacher:  Children,  why  are  ministers  the  salt  of  the 

earth? 

A.  Boy:  Because  they  keep  victuals  from  spoiling. 

Q.  Of  what  trade  is  the  Sun?  ^ 

A.  A tanner. 

Q.  A lazy  man,  wishing  to  encourage  his  wife’s  industry, 
exclaimed,  “My  dear,  you  and  I are  equal  to  ten.”  “Yes,” 
she  said,  “for — 

A.  I am  one  (i)  and  you  are  a cipher  (o). 

Q.  McCauley’s  Riddle,  given  here  only  in  substance  from 
a poem.  My  whole  is  composed  of  twelve;  divide  us  into 
three  and  nine,  and  you  bring  before  you  a dark  and  dreadful 
scene,  bloodshed  and  ^cruelty;  man  destroying  man;  if  you 
exclude  the  first  three  of  us,  the  picture  is  even  darker,  for 
now  the  brute, creation  is' involved  in  the  general  misery;  but 
separate  us  into  four  and  eight  and  what  a change!  Now  all 
is  gladness  and  gayety.  The  air  rings  with  jubilee  and  joy. 

A.  First,  manslaughter;  second,  slaughter;  third,  man’s 
laughter. 

Q.  If  you  crols  your  second  finger  over  your  first  and  pass 
the  fork  up  and  down  on  the  bridge  of  your  nose  it  will  feel  as 
though  you  had  two  noses.  Why? 

A.  The  fingers  being  crossed,  it  is  the  outer  side  of  each 
finger  that  touches  the  nose ; and  the  mind,  from  habit,  refers 
all  sensations  to  their  usual  place.  So  there  seems  to  be  a 
nose  on  the  outer  side  of  both  fingers,  which  would  require 
two  noses. 


Q.  SHELLEY’S  RIDDLE. 

I bring  fresh  showers 

For  the  thirsty  flowers, 

From  the  seas  and  the  streams . 

I bear  light  shade 
For  the  leaves  when  laid 
In  their  noonoay  dream 


51 


I bind  the  sun’s  throne 
With  a burning  zone, 

And  the  moons  with  a girdle  of  pearl ; 

The  volcanoes  are  dim 
And  the  stars  reel  and  swim 

When  the  whirlwinds  nr”  banner  unfurl*. 

When  the  crimson  pall 
Of  the  even  doth  faU 
Ffrom  the  depth  of  heaven  above. 

Safe  folded  I rest 
On  my  airy  nest, 

As  still  as  a brooding  dove. 

I wield  the  flail 

Of  the  lashing  hail, 

And  whiten  the  green  plains  under- 
\ And  then  again 

I dissolve  it  in  rain 

And  laugh  as  I pass  in  thunder. 

7 sift  the  snow 

On  the  mountains  below 
And  their  great  pines  groan  aghast ; 

And  all  the  night 
’Tis  my  pillow  white 

As  I sleep  in  the  arms  of  the  blast. 

A.  A.  cloud.  _ 


Q- 


He  dreamed  that  the  Frenchman’s  sword  still  slew, 

And  triumphed  the  Frenchman’s  eagle; 

The  struggling  Austrians  fled  anew 
Like  the  hare  before  the  beagle. 

The  bearded  Russian  he  scourged  again, 

The  Prussian  camp  was  routed,  _ 

A«d  again  on  the  hills  of  haughty  Spain  \\ 

His  mighty  army  shouted. 


i.  McClellan. 

GIVEN  HERE  ONLY  IN  PART. 


52 


O’er  Egypt’s  sands,  o’er  Alpine  snows. 

At  the  pyramid,  at  the  mountain, 

Where  the  wave  of  the  lordly  Danube  flows, 
And  by  the  Italian  fountain ; 

O’er  the  snowy  cliffs  where  mountain  streams 
Dash  by  the  Switzer’s  dwelling, 

He  led  again,  in  his  dying  dreams, 

His  host,  the  broad  earth  quelling. 

Who  was  he? 

Q.  Napoleon. 


Q.  MISS  FANSHAW’S  ENIGMA. 

- ’Twas  whispered  in  heaven  and  muttered  in  hell, 

And  echo  caught  faintly  the  sound  as  it  fell. 

On  the  confines  of  earth,  ’twas  permitted  to  rest, 

And  the  depths  of  the  ocean  its  presence  confessed; 
’Twas  seen  in  the  lightning,  and  heard  in  the  thunder; 

’Twill  be  found  in  the  spheres,  when  riven  asunder? 
’Twas  given  to  man  with  his  earliest  breath, 

Assists  at  his  birth  and  attends  him  in  death ; 
Presides  o’er  his  happiness,  honor  and  health, 

Is  the  prop  of  his  house  and  the  end  of  his  wealth 
It  begins  every  hope,  every  wish  it  must  bound 

And  though  unassuming  with  monarchs  is  crowned 
Without  it  the  soldier  and  sailor  may  roam, 

But  woe  to  the  wretch  who  expels  it  from  home. 

But  in  shade  let  it  rest,  like  a delicate  flower — 

O,  breathe  on  it  softly ; it  dies  in  an  hour. 

\ 

A.  The  letter  H. 


Q.  How  can  we  all  remember  our  friends  in  our  will? 

A.  In  our  good-will. 

Q.  What  is  the  best  thing  that  any  of  us  can  do  in  this 
world? 

A.  Mind  our  own  business. 

Q.  Is  life  worth  living? 

A.  It  depends  on  the  liver. 


53  1 

Q.  What  we  all  require,  what  we  all  give,  what  we  occas- 
ionally ask  for,  yet  very  seldom  take  ? 

A.  Advice. 

Q.  If  by  chance  a man  falls 

From  the  top  of  St.  Paul’s, 

What  does  he  fall  against? 

A.  Against  his  inclination. 

Q.  Why  is  a kitten  biting  her  own  tail  like  a good  man- 
ager ? 

A.  Because  she  makes  both  ends  meet. 

Q.  Why  is  the  figure  9 like  a peacock? 

A.  Because  without  a tail  it  is  nothing. 

Q.  Why  did  Adam  bite  the  apple  when  Eve  gave  it  to  him? 

A.  Because  he  had  no  knife. 

Q.  Which  are  the  most  contented  bird’s? 

A.  Rooks,  because  they  never  complain  without  caws. 

Q.  In  my  first  my  second  sat ; my  third  and  fourth  I ate. 

A.  Insatiate. 

Q.  You  eat  me,  you  drink  me,  deny  it  who  can, 

I’m  sometimes  a woman  and  sometimes  a man. 

A.  A toast. 

Q.  The  beginning  of  eternity,  the  end  of  time  and  space, 
The  beginningof  every  end,  and  the  end  of  every  place. 

A.  The  letter  E. 

Q.  What  is  the  greatest  enemy  of  the  world  and  of  every 
man? 

A.  Despair;  We  commenced  this  catechism  with  the  ques- 
tion which  is  the  greatest  riddle,  and  the  answer  was  Life, 
because  we  all  have  to  give  it  up,  but  woe  to  the  man  who 
wants  to  give  it  up.  The  world  is  the  sphinx  that  propounds 
to  every  man  the  riddle  of  life.  If  he  does  not  give  an  answer, 
find  some  meaning  in  life,  it  devours  him.  The  love  of  life 
and  faith  in  the  world  is  the  great  secret  of  happiness  and 
success.  Let  every  one  remember  the  famous  Persian 
proverb,  “When  men  shall  say  in  passing  a grave,  ‘Would  I 
were  there,’  the  end  of  the  world  is  at  hand.” 


Nursery  Rhymes  Illustrated 


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(Mrs.  Hayrake  (sobbing) — Oh,  dear,  Hiram’s  driftin’  away  from  me,  an’ — boo-hoo! — I’m  sure 
there’s  another  woman  in  the  case. 

(Mrs.  Hokorn. — Why,  what  put  sich  a silly  idear  in  your  head, 

(Mrs.  Hayrake. — He  went  tew  a barber’s  ^terday  tew  git  his  hair  cut  instead  i'v  Sitin’  me 
cut  it,  as  he  always  done  before. 


A Calculating  Man. 

Riding  along  with  a friend  the  other  day,  we  came  suddenly 
upon  a farm-house,  with  a beautiful  flower-garden  in  front, 
while  standing  in  the  road,  apparently  awaiting  our  approach, 
was  an  old  man  of  perhaps  sixty-five.  When  we  arrived  near 
him  he  ordered  us  to  stop;  which  singular  request  we  complied 
with,  wondering  in  our  mind  what  could  be  his  business  with 
us.  Immediately  upon  bidding  us  to  halt,  he  turned  in  another 
direction,  toward  a small  wood  nearly  a quarter  of  a mile  off, 
and  yelled  with  all  the  power  of  his  voice: 

“Joshua!” 

We  turned  our  eyes  in  that  direction,  and  beheld  in  the  field 
adjoining  the  wood  a young  man,  engaged  in  the  rather  labori- 
ous task  of  digging  potatoes.  Upon  hearing  the  sound  of  the 
old  man's  voice,  however,  he  rested, on  his  fork,  and  faced  us. 
In  a moment  more  came  back  the  faint  cry  of  — ~ 

“ Hallo!  ” 

The  old  man,  seeing  that  his  son  had  heard  him,  agaia  yelled 
at  the  top  of  his  venerable  lungs: 

“ Where’s  the  milking-stool?”1 

Again  came  back  the  faint  response: 

“ In  the  meadow.  ” 

“ What  did  he  say?  ” demanded  the  old. man  of  us. 

We  repeated  the  answer.  He  did  not  hear  us,  however,  for 
he  ^aid: 

“ Louder  — I’m  deaf ! ” 

We  now  screamed  it  in  his  ear,  and  upon  being  satisfied,  he 
merely  said: 

“ That’s  enough,  you  may  go  on.” 

The  truth  was  now  apparent;  the  old  man  wishing  the  milk- 
ing-stool, and  being  obliged  to  inquire  i£s  locality  of  hisson,  it 
would  have  been  necessary  for  him  to  travel  to  the  field,  on 
account  of  his  deafness;  the  expedient  above  related  saved  him 
that  trouble,  by  furnishing  an  excellent  ear-trumpet. 


The  Sultan  of  Morocco,  with  his  6,000  wives,  greatly  re- 
sembles George  Washington.  He  is  the  father  of  his  country. 


mock-turtle  soup. 


The  State  of  T r>ade. 

Shopkeeper  (to  commercial  traveler)  — Can’t  give  you  ao 
order.  Quite  overstocked. 

Traveler — Let  me  at  least  show  you  my  samples. 
Shopkeeper  — Spare  yourself  the  trouble.  I can’t  took  at 
them. 

Traveler — -Then  will  you  allow  me  to  look  at  them  myself? 
It  is  three  weeks  since  I have  even  seen  them. 


The  Effect  of  Culture. 

Boston  Girl — Oh,  mother  ! I did  something  awfully  immod- 
est at  the  party  to-night. 

Mother — Why,  my  dear  child,  what  was  it  ? 

B.  G.  — That  horrid  bouquet  Mr.  Bacon  sent  me  had  some 
cinnamon  pinks  in  it.  They  made  me  sneeze  — but  I cant 
say  it. 

Mother — Go  on. 

B.  G.  — My  glasses  fell  off,  and  Mr.  Bacon  say  my  bare  face. 

The  Course  of  True  Love 

The  course  of  true  love  may  be  traced  in  the  eight  letters 
produced  at  a hearing  of  a breach-of-promise  case.  The  first 
letter  commenced  “ Dear  Mr.  Smith/'  then  followed,  “ My 
Dear  John,”  then  “ My  Darling  John,”  “ My  Own  Darling 
Jack,”  44  My  Darling  John,”  “ Dear  John,”  “ Dear  Sir,”  “ Sir,” 
and  all  was  over. 

Its  an  awful  thing,  force  of  habit.  It’s  accountable  for  a 
great  deal  of  misery  and  a great  deal  of  happiness.  Most 
things  are  done  from  force  of  habit.  Betting,  drinking,  loving, 
hating,  all  become  habits,  and  can’t  be  got  over,  A fellow 
goes  courting,  and  it’s  awfully  pleasant.  At  first  it’s  novelty 
and  fun,  then  it  becomes  habit,  and  they  think  it  is  love.  The 
girl  goes  away  for  a month.  He  pines  for  a week,  and  when 
she  comes  back  she’s  got  out  of  the  habit,  and  he’s  got  into  the 
habit  of  courting  another  girl,  and  it’s  all  up. 


Brabantio  (appearing  at  window) — What  do  you  want  ? Be  off  ? 
Iago. — Look  to  your  bags. 

‘Brabantio. — They’re  safe;  I’ve  got  them  on,  you  sorry  wags. 


Othello . — You’re  drunk. 

Cassio. — l own  I've  taken  too 
much  wine. 

Othello. — Be  off!  No  more  be 
officer  of  mine  I 


Othello.— Now  to  escape  before 
I am  discovered. 

Some  other  people  then  will  find 
her  some-othered, 


Having  Fun  at  Home  and  Scaring  the  Folks  as  Well 

(. In  4 Scenes .) 


Putting  Off  Duns. 

Ella  The  gentleman  who  lodges  above  appears  very  attentive  to  you. 
Bella  Ah,  yes;  I am  even  engaged  to  him.  But  yet  I am  tortured  - 
with  doubt  Would  that  I knew  whether  he  loves  me  for  myself  alone  f 
Ella  But  why  in'the  world  should  he  marry  you  otherwise  ? 

Bella— Well,  to  tell  the  truth,  he  owes  my  mother  six  months’  rent 


Perils  of  Translation. 

The  translation  of  the  English  spiritual  songs  into  the  foreign  lan- 
guages often  causes  ludicrous  readings  which  are  quite  equal  to  any  of 
the  slangy  irreverence  of  the  impudent  young  American. 

A certain  missionary  relates  that  he  got  an  Indian  scholar  to  assist 
him  in  translating  into  the  Indian  vernacular  the  hymn:  , ' 

Rock  of  ages,  cleft  for  me, 

Let  me  hide  myself  in.^hee. 

Imagine  his  surprise  and  chagrin  to  read  the  following  loose  lines ' 
Very  old  stone,  split  for  my  benefit. 

Let  me  get  under  one  of  your  fragments. 


} 


3.—“  Fits  him  to  a T.” 


It-  Purpose. 

- “ Yes,  sir/’  exclaimed  the  earnest  man,  “there’s  a fortune  in  it--> 
fortune,  sure.” 

* “In  what  ? ” 

« “A  new  patent  medicine  of  mine.’* 

“ What’s  it  good  for? ” 

“Why  to  make  money  with.” 

“But  what  is  it  expected  to  cure?” 

“ Oh,  excuse  me.  I understand  you  now.  To  tell  you  the  tu^esf 
truth,  it  isn’t  expected  to  cure  much  of  anything  except  poverty.” 


. • 


Not  Worth  Having. 

* No;  he’ll  never  propose.”  she  said  with  a sigh. 

“Why  do  you  say  that?  ” asked  her  deadest  friend. 

“We  went  rowing  in  the  moonlight  last  evening,  and  he  just  to 

and  rowed  and  rowed.” 

“Never  let  the  boat  drift  at  all?  ” 

“Never  once.” 

“Oh,  well,  in  that  case,  I should  say  he  hasn’t  sense  enougn  tc 
worth  having  anyway.” 


. 


Pluck. 


Foreman  of  Pressroom.— Ink's  all  out,  sir,  and  I ain’t  printed  but 
wo  hundred  copies. 

Editor— Have  you  cleaned  all  the  soot  out  of  the  lamp  chimneys 
ind  stove,  and  used  that  ? 

Foreman . — Yes,  sir. 

Editor,— Well,  then  boil  down  last  week’s  returned  copies  and 
ised  the  ink  out  of  them.  This  paper  is  bound  to  get  out. 


Fashion  Notes. 

Caps  for  climax  purposees  are  sold  in  great  numbers. 
Cliffs  for  the  ears  are  going  out  of  favor  with  the  young. 
Babies’  teeth  continue  to  be  cut  as  formerly. 


First  Tramp — Tails  again!  We  don’t  seem  to  have  no  luck 
Well,  oncet  more,  an’  dis  time  settles  it.  See. 

Second  Tramp — Wall,  I’m  chawed,  ef  it  ain’t  tails  agin.  We 
got  to  take  the  baths,  sure. 

First  Tramp — Here!  I'll  tell  you  a scheme.  Les’  go  inter  de 
saloon  an’  tell  der  bar- keep’  we’re  goin’  to  take  a bath,  an’  bet  him  de 
drinks  that  it  don’t  kill  us.  See. 

Second  Tramp — Then  we  git  both  Great  head  you  have ! But 
— say  ; ’sposin’  it  should  kill  us. 

First  Tramp — Ye’re  right,  Jimmy  We  hadn’t  better  run  no  risks. 

{They  don't  run  any  risk.) 


Concealing  His  Contempt. 

One  day  Thad  Stevens  was  practicing  in  one  of  the  Pennsylvania 
courts,  and  he  didn’t  like  the  ruling  of  the  presiding  judge.  A second 
time  the  judge  ruled  against  him,  when  the  old  man  got  up  and  com- 
menced tying  up  his  papers,  as  if  to  quit  the  court-room. 

‘•Do  1 understand,  Mr.  Stevens,”  asked  the  judge,  “that  you  wish 
to  show  your  contempt  of  this  court?  ” 

“No,  sir;  no,  sir;”  replied  old  Thad.  “I  don’t  want  to  snow  m) 
contempt ; I’m  trying  to  conceal  it.” 


“EXCUSE  HASTE  AND  A BAD  PEN.” 


Home  Entertainment  for  Every  Member  of  the  Family. 


PARLOR  ENTERTAINMENTS 

AND 

EVENING  PARTY  AMUSEMENTS. 

Vi 

f The  following-  pages  are  designed  to  afford  friendly  coun- 
i sel  and  instruction  on  a matter  in  which,  we  are  sorry  to  say, 

I the  education  of  most  people  has  been  shamefully  neglected. 
> We  refer  to  the  art  of  amusing  one’s  self  and  others  at  social 
gatherings.  While  we  are  boys  and  girls  at  school,  the  art 
of  amusement  is  treated  with  great  ^nd  deserved  respect; 
but  during  our  passage  thence  to  man’s  or  woman’s  estate,* 
we  are  too  apt  to  regard  all  “games”  as  childish  and  undigni- 
fied. A steady  course  of  “all  work  and  no  play”  has  the 
proverbial  effect,  and  we  find  when  too  late  that  we  have  lost 
the  faculty  of  amusing  ourselves. 

We  may  almost  say  that  there  are  but  three  acknowledged 
forms  of  social  amusement  music,  dancing,  and  card-play- 
ing ; and  when,  as  occasionally  happens,  none  of  these  are 
found  available,  the  company,  too  often  subside  into  chilly 
groups  around  the  room,  feebly  struggling  to  keep  conver- 
sation afloat  until  the  blissful  moment  when  they  are  per- 
mitted to  go  home.  But  given  the  presence  of  even  one 
individual  who  has  studied  the  art  of  amusement  and  has  the 
courage  to  put  hisv  knowledge  into  practice,  and  what  a 
Change  comes  Over  the  scene ! A simple  con J uring  trick,  an 
all  but  obvious  puzzle,  or  even  a few  antediluvian  conun- 
drums serve  to  break  the  universal  ice,  and  people  who  five 
minutes  previously  were  glaring  at  each  other  in  disgust, 
malice,  and  all  uncharitableness,  are  now  all  smiles  and  cor- 
diality. New  social  talents  are  developed,  and  the  stream  of 
fun,  once  started,  flows  with  increasing  vigm*  until  the  hour 
|of  parting  arrives,  amid  a general  chorus  of  “Who  would 
have  thought  it  was  so  late?  ” 


64 


Games  of  Action 


Blind  Man’s  Buff. 

This  is  one  of  the  oldest,  and  at  the  same  time  the  best,  of 
“romping-”  games.  It  is,  however,  so  universally  known, 
that  we  should  scarce  have  ventured  to  ref£r  to  it,  save  that 
' it  forms  a text  whereon  to  base  a short  description  of  two  or 
three  variations  from  the  original  idea.  For  the  benefit  of 
any  possible  reader  (say  Japanese  or  Hindoo)  to  whom  Blind 


BLIND  MAN’S  BUFF. 


Man’s  Buff  may  be  unknown,  we  may  mention  that  one  of 
the  party  is  blindfolded  with  a handerchief,  due  care  being 
taken  that  no  tell-tale  crevice  is  left ; that  he  is  then  turned 
round  three  times,  so  as  to  get  thoroughly  confused  in  his 
mind  as  to  his  cardinal  points  and  the  relative  positions  of 
things  in  general,  and  that  he  is  then  invited  to  “catch  whom 
he  can;”  which  he  forthwith  proceeds  to  do  accordingly, 

55 


56 


ai^M  much  laughter,  and  many  hairbreadth  escapes  on  the 
part  of  the  unblinded  competitors.  When  he  has  caught  a 
prisoner,  however,  his  troubles  are  not  at  an  end,  for,  with- 
out raising  the  bandage,  he  is  required  to  name  his  victim, 
and  if  he  guesses  wrongly  the  captive  is  released,  and  the 
Blind  Man  must  continue  his  sightless  wanderings  until  he 

catches  (and  correctly  names)  another. 

* 

Buff  with  the  Wand. 

This  is  a variation  of  Blind  Man’  Buff,  but  much  less  gen- 
erally known.  The  Blind  Man,  with  eyes  bandaged  as  before, 
stands  with  a cane  or  walking-stick  in  hand,  in  the  center  of 
the  room,  the  rest  of  the  company  join  hands  in  a ring  and 
dance  round  to  some  lively  air.  At  a pause  in  the  music,  the 
Blind  Man  lets  the  “wand”  fall  gently  on  the  head  or  shoul- 
ders of  one  of  the  circle,  or,  if  the  circle  be  large,  simply 
points  at  some  portion  of  its  circumference.  The  person 
indicated  is  bound  to  take  hold  of  the  other  end,  and  to  imi* 
tate,  disguising  his  voice  as  best  he  can,  any  three  cries  (of 
birds,  beasts,  peddlers,  or  newsboys)  the  Blind  Man  may 
choose  to  utter.  The  Blind  Man  then  makes  a guess  at 
the  person  holding  the  wand,  and  if  he  guesses  rightly,  such 
person  becomes  Blind  Man  in  turn.  If  the  guess  is  wrong, 
the  circle  moves  on  qgain  as  before,  and  the*  Blind  Man 
makes  a fresh  attempt. 

The  game  is  sometimes  played  by  the  Blind  Man  asking, 
“Who  are  you?”  to  which  the  person  indicated  replies,  dis- 
guising his  or  her  voice  as  much  as  possible,  “That’s  no 
business  of  yours.” 

Hot  Cockles. 

This  is  another  form  of  the  same  game.  The  Blind  Man 
kneels  with  his  face  hidden  on  a lady’s  lap  or  the  seat  of  a 
chair,  and  holds  his  open  hands  laid  one  on  the  other  behind 
his  back.  The  company  then  advance  one  by  one,  and  eacli 
gives  a slap,  light  or  heavy  as  he  pleases,  on  the  extended 
palms;  and  the  Blind  Man  is  required  to  say  whose  was 


57 


the  hand  that  struck  the  blow.  If  he  guesses  right  he  is 
released,  and  the  striker  takes  his  place. 

The  Feather  Game. 

The  players  are  seated  in  a circle,  with  their  chairs  close 
together.  The  leader  takes  a piece  of  goose  or  swan’s-down, 
and  blows  it  upwards  towards  the  center  of  the  circle.  The 
company  are  now  expected  to  keep  it  afloat  with  their  breath, 
its  falling  to  the  ground  involving  a forfeit  from  the  person 
on  whom,  or  nearest  to  whom,  it  falls. 

The  excitement  produced  by  this  simple  game  must  be 
experienced  to  be  believed.  The  consciousness  of  tight 
boots,  unpaid  taxes,  and  your  mother-in-law  coming  the  next 
day  for  a six  months’ visit, — all  areas  nothing,  for  the  mo- 
ment, compared  with  the  vital  importance  of  keeping  that 
small  piece  of  swan’s-down  well  afloat.  This  game,  too,  has 
the  advantage  of  being  very  nearly  as  amusing  to  lookers-on 
as  to  the  players;  the  spectacle  of,  say,  a couple  of  elderly 
gentlemen  puffing  themselves  into  the  guise  of  apoplectic 
cherubs,  and  blowing  violently  in  each  other’s  faces,  while 
the  provoking  feather  gently  subsides  between  them,  being  a 
sight  to  appeal  to  the  risible  faculties  of  the  most  cold-blooded 
spectator. , « 

In  the  not  unfrequent  case  of  a dispute  as  to  who  is  answer- 
able  for  the  feather’s  decline  and  fall,  the  leader  of  course 
decides. 

Hunt  the  Ring. 

A good-sized  ring,  say  a curtain-ring,  is  procured,  or,  for 
lack  of  an  appropriate  ring,  a key,  of  such  size  as  to  be 
readily  hidden  in  the  hand  may  be  used  as  a substitute. 
Through  this  is  threaded  a piece  of  string  of  four  or  five 
yards  in  length,  the  ends  being  joined  so  as  to  form  an  end- 
less band. . The  company  sit  or  stand  in  a circle,  the  cord 
passing  through  their  closed  hands.  The  key  circulates  from 
one  to  another,  while  the  player  who  is  “out,’’  standing  in  the 
middle  of  the  circle,  endeavors  to  intercept  it  in  its  progress. 


Where  a key  is  used,  a daring  player  will  sometimes  aggra- 
vate the  unhappy  middleman  by  whistling  into  the  barrel  of 
the  key,  when  the  player’s  back  is  turned. 

There  is  another  form  of  this  game,  in  which  the  endless 
cord  is  dispensed  with.  Each  player  in  this  case  grasps  with 
his  left  hand  the  right  wrist  of  the  person  next  him,  though 
so  lightly  as  to  allow  free  play  of  the  arm.  The  hands  are 
then  set  in  rapid  backward-and-forward  motion,  under  cover 
of  which  the  key  or  ring  is  passed  from  one  to  another,  the 
“out”  player,  as  before,  endeavoring  to  intercept  its  passage; 
when  the  person  in  whose  hand  the  article  is  found  is  re- 
quired to  take  his  place. 

Twirl  the  Plate:  or,  My  Lady’s  Toilet. 

The  leader  gives  to  each  of  +he  party  the  name  of  some 
article  appropriate  to  a lady’s  toilet,  as  Handkerchief,  Hair- 
brush, Gloves,  Fan,  Towel,  Powder-puff,  Slippers,  etc., 
which  name  serves  to  distinguish  him  or  her  throughout  the 
game.  This  preliminary  having  been  settled,  and  the  com- 
pany seated  in  chairs  around  the  room,  the  leader  takes  an 
ordinary  plate,  and  sets  it  spinning  in  the  middle  of  the  floor, 
at  the  same  time  saying,  “ My  Lady  is  going  to  a Ball,  and 

wants  her ” calling  out  the  agreed  name  of  some  one  of 

the  party.  The  person  distinguished  by  such  name  or  num- 
ber is  bound  to  catch  the  plate  before  it  runs  down,  and  again 
set  it  in  motion,  calling  out  the  agreed  name  of  another  of  the 
party,  and  so  on.  If  the  one  called  on  fails  to  get  hold  of  the 
plate  while  yet  spinning,  he  or  she  incurs  a forfeit. 

If  the  person  spinning  the  plate  introduces  the  word 
“Toilet,”  the  whole  company  are  bound  to  change  places,  the 
unlucky  person  who  may  be  left  without  a seat  incurring  a 
forfeit,  and  being  made  the  next  spinner  of  the  plate. 

The  Stage=Coach. 

The  company,  as  in  the  last  case,  sit  round  the  room,  and 
the  leader  gives  each  a name  having  some  relation  to  a stage- 
coach or  its  passengers.  Thus  we  may  suppose  the  dramatis 


persona  represented  by  one  of  the  company  present) 

to  be  as  follows: 


The  Coachman. 

The  Guard. 

The  Second  Wheel. 
The  Fourth  Wheel. 
Mr.  Nicholby. 

The  Stout  Lady. 

The  Stout  Gentleman. 
The  Luggage. 


The  Whip. 

The  First  Wheel. 

The  Third  Wheel. 

The  Horn. 

Mrs.  Nicholby. 

The  Thin  Lady. 

The  Horses. 

The  Man  with  the  wooden  ler. 


The  Little  Dog-. 


The  last  named  is  a personag-e  which  is  broug-ht  into  con- 
stant requisition,  and  a g*ood  deal  of  fun  may  be  made  by 
inducing-  some  stout  elderly  g-entleman  who  does  7iot  know  the 
game  to  undertake  this-  character.  As  will  presently  be 
seen,  the  amount  of  g-entle  exercise — but  we  anticipate. 

The  leader,  standing-  in  the  middle  of  the  circle,  relates  a 
s,tory  as  to  a certain  journey  by  stag-e-coach,  introducing-  as 
frequently  as  possible  the  names  assig-ned  to  the  various 
members  of  the  party.  As  each  is  named,  he  or  she  is 
required  to  stand  up,  turn  round,  and  sit  down  again ; the 
omitting  to  do  so  when  the  name  is  mentioned,  or  the  doing 
so  when  not  . so  called  upon,  being  equally  punishable  with 
a forfeit.  Whenever  the  “Stage-Coach”  is  mentioned  by 
name  all  have  to  change  places,  and  as  the  leader  takes  the 
opportunity  to  drop  quietly  into  a seat,  one  member  of  the 
party  is  naturally  left  chairless,  and  has  to  pay  a forfeit,  and 
and  to  wait  for  another  general  move  before  he  can  regain 
his  seat;. 

The  story  told  may  either  be  written  out  beforehand,  or 
be  the  extempore  production  of  the  leader’s  imagination. 
The  following  is  a specimen  of  the  style  of  thing  usually 
adopted,  with  the  appropriate  action  on  the  part  of  the  per- 
formers : — 


“Mr.  Nicholby  (, turn ) and  Mrs.  Nicholby  C turn ) were  stay- 
ing at  New  York,  when  one  morning  Mr.  Nicholby  (turn) 


60 


read  in  the  newspaper  that  there  was  to  be  an  excursion  by 
stage-coach  {all  change  places,  the  leader  drops  into  a seat, 
and  the  player  left  standing  is  called  on  foi  a forfeit ) to 
several  points  of  interest  in  the  neighborhood,  and  at  once 
said  to  Mrs.  Nicholby  {turn),  “My  dear  Mrs.  Nicholby  {turn), 
shall  we  go?  “Nothing  I should  like  better,”  said  Mrs. 
Nicholby  {turn)  ; “but  what  about  my  dear  little  dog  ! {turn)', 
‘Can’t  you  leave  the  little  dog  {turn)  at  home  for  once?” 
“What,  leave  my  dear  little  dog  {turn)  alone  among  strang- 
ers? Never  ! Mr.  Nicholby  ! ” {turn).  “ Take  him  with  you, 
then,”  said  Mr.  Nicholby  {turn).  “I  will,”  said  Mrs. 
Nicholby  {turn).  So  as  soon  as  breakfast  was  over,  they 
hastened  away,  Mrs.  Nicholby  {turn)  carrying  the  little  dog 
{turn)  to  the  inn  whence  the  stage-coach  {all  change ) was  to 
start.  There  were  several  passengers  already.  There  was 
a stout  lady  {turn)  and  a thin  lady  {turn)  ; a stout  gentleman 
{turn)  and  a gentleman  with  a wooden  leg  {turn).  Mr.  Nich- 
olby {turn)  got  ouside,  and  Mrs.  Nicholby  {turn)  inside'"  with 
the  little  dog  {turn).  The  luggage  {turn)  was  strapped  on 
the  roof,  and  the  coachman  {turn)  mounted  to  his  seat.  The 
guard  {turn)  blew  his  horn  {turn),  the  coachman  {turn) 
cracked  his  whip  {turn),  his  horses  {turn)  pranced,  round 
went  the  wheels  {turn),  and  off  went  the  coach  {all  change 
places ).  But  no  sooner  had  they  started,  and  the  coach  {all 
change ) was  fairly  on  its  road,  than  the  little  dog  {turn),  who 
had  taken  a violent  dislike  to  the  gentleman  with  the  wooden 
leg  {turn),  began  to  bark  violently,  and  to  make  sharp  snaps 
at  the  wooden  leg.  The  stout  lady  and  the  thin  lady  {both 
turn)  both  screamed.  “What  a nasty  snappish  little  dog!” 
{turn),  said  the  thin  lady  {turn).  “Not  at  all,  ma’am.  I assure 
you,”  said  Mrs.  Nicholby  {turn)',  “he  is  the  sweetest  and 
best-tempered  little  dog  {turn),  but  once  he  tried  in  play  to 
bite  a gentleman  with  a wooden  leg  {turn),  and  he  broke  his 
best  wisdom  tooth,  and  he  hasn’t  been  able  to  -bear  anybody 
with  a wooden  leg  since.  Lie  down,  Carlo,  at  once,  you 
naughty,  naughty  little  dog l”  {turn).  But  the  little  dog 


t>i 


{turn)  continued  to  bark,  and  the  stout  lady  {turn)  ana  the 
thin  lady  {turn)  grew  more  and  more  uncomfortable,  till  at 
last  Mrs.  Nicholby  {turn)  said,  “I  can  assure  you  the  dear 
angel  is  only  annoyed  at  the  wooden  leg.  Would  you  mind, 
sir,  just  for  once,  taking  it  off  and  hanging  it  out  of  the  win- 
dow? ” Mrs.  Nicholby  {turn)  smiled  her  sweetest  smile,  but 
the  man  with  the  wooden  leg  {turn)  savagely  replied,  “ Per- 
haps you  wouldn’t  mind,  ma’am,  just  for  once,  you  know, 
hanging  your  ugly  little  cur  out  of  the  window.  I am  sure 
it  will  make  things  pleasanter  for  all  parties.  ’’  Mrs.  Nichol- 
by {turn)  burst  into  tears,  and  putting  her  head  out  of  the 
window,  called  frantically  to  Mr.  Nicholby  {turn).  “Stop  the 
coach  ! {all  change)  ; stop  the  coach  1 {change  again).  Here 
is  a brute  of  a man  with  a wooden  leg  {turn)  calling  my  dar- 
ling little  dog  {turn)  a nasty  little  cur ! Let  me  out ! let  me 
out ! I won’t  sit  in  the  coach  {all  change)  with  him  ! ” So  the 
coach  {all  change)  was  stopped,  and  Mrs.  Nicholby  {turn) 
was  assisted  onto  the  box-seat  with  her  little  dog  {turn).  “A 
jolly  good  riddance  ! ” said  the  gentleman  with  the  wooden 
leg  {turn).  “I  hate  a nasty  little  dog  {turn)  like  that,”  said 
the  stout  lady  {turn).  “So  do  I,”  said  the  thin  lady  {turn). 
The  stout  gentleman  {turn)  didn’t  say  anything,  but  he 
laughed  till  he  fairly  shook  the  coach  {all  change).  The  coach- 
man {turn)  whipped  up  his  horses  ( turn ),  the  guard  {turn) 
blew  his  horn  {turn),  round  flew  the  wheels  {turn),  a^d  off 
went  the  coach  {all  change),  the  little  dog  {turn)  now  l vrking 
at  the  luggage  ( turn ).’’ 

And  so  the  story  may  run  on  to  any  extent,  detailing  the 
adventures  of  the  travelers  — how  Mr.  Nicholby ’s  hat  flew 
off;  how  the  little  dog  smashed  in  the  thin  lady’s  bonnet-box^ 
how  Mrs.  Nicholby  lost  her  muff;  how  the  coach  was  attacked 
by  brigands,  and  afterward  upset,  according  to  the  fancy 
and  invention  of  the  leader.  It  may  safely  be  concluded 
that,  by  the  end  of  the  game,  the  players  generally,  and  the 
little  dog  in  particular,  will  have  a fair  amount  of  exercise 
and  a goodly  number  of  forfeits  will  have  been  accumulated. 


62 


Musical  Fright 

One  of  the  company  takes  a seat  at  the  piano,  and  plays  a 
lively  air.  A row  of  chairs,  in  number  one  less  than  that  ot 
the  players,  are  arranged  down  the  middle  of  the  rocm. 
These  are  placed  close  side  by  side,  but  facing  in  alternate 
directions,  and  the  company  march  round  them  in  single  file, 
to  the  sound  of  the  music;  the  moment  the  performer 
ceases  to  play,  each  endeavors  to  secure  a seat.  The  player 
who  is  left  standing  has  to  pay  a forfeit,  and  is  “out.”  One 
of  the  chairs  is  then  removed,  and  the  march  resumed 
with  the  same  result.  This  process  is  repeated  till  all  the 
players  save  one  are  “out,”  that  one  being  the  winner,  and 
entitled  to  decide  upon  the  forfeits  of  the  rest. 

It  should  be  mentioned  that  sitting  down  improperly,  i.  e . 
before  the  music  has  ceased,  is  also  a cause  of  a forfeit;  and 
if  the  player  be  a good  performer,  much  fun  may  be  occa- 
sioned by  his  introducing  what  are  apparently  concluding 
chords,  and  thus  beguiling  incautious  players  into  a prema- 
ture subsidence,  or,  on  the  other  hand,  pulling  up  short  in 
the  very  middle  of  a musical  phrase  which  appears  to  be 
good  for  at  least  another  dozen  bars. 

Magic  Music 

This  game,  like  the  last,  depends  a good  deal  on  the 
musical  performer.  In  its  simplest  form  one  of  the  company 
leaves  the  room,  and  during  his  absence  some  agreed  article 
is  hidden.  On  his  return  to  search  for  it,  the  player  at  the 
piano  commences  a kind  of  musical  commentary  on  his  pro- 
ceedings, growing  louder  as  he  approaches  the  hidden 
object,  and  fainte'r  as  he  recedes  from  it;  the  alternate  cres-% 
cendo  and  diminuendo  serving  to  guide  his  search. 

Sometimes,  by  way  of  variation,  instead  of  hiding  any 
object,  the  players  in  the  room  agree  upon  some  act  which 
the  “out”  player  shall  be  required  to  perform  ; e.  g.,  to  take 
a bouquet  of  flowers  from  the  table,  and  carry  them  to  a 
particular  lady.  It  would  at  first  sight  appear  that  the  clue 
afforded  by  the  music  must  be  extremely  slight,  but  such  is 


63 


not  the  case.  With  a fair  performer  at  the  piano,  and  ordi- 
nary intelligence  on  the  part  of  the  guesser,  the  discovery 
of  the  duty  required  from  the  latter  is  generally  only  a mat- 
ter of  a few  minutes. 

The  Dutch  Concert 

The  players  sit  or  stand  round  the  room  in  a circle.  The 
leader  assigns  to  each  some  musical  instrument,  as  harp, 
flute,  violoncello,  trombone,  etc.,  and  also  selects  one  for  him- 
self. Some  well-known  tune  is  then  given  out,  say  “Marching 
Through  Georgia,”  and  the  players  all  begin  to  play  accord- 
ingly, each  doing  his  best  to  imitate,  both  in  sound  and 
action,  the  instrument  which  has  been  assigned  to  him,  the 
effect  being  generally  extremely  harmonious.  The  leader 
commences  with  his  own  instrument,  but  without  any  warn- 
ing suddenly  ceases,  and  begins  instead  to  perform  on  the 
instrument  assigned  to  one  or  other  of  the  players.  Such 
player  is  bound  to  notice  the  change,  and  forthwith  to  imi- 
tate the  instrument  just  abandoned  by  the  leader,  incurring 
forfeit  if  he  fails  to  do  so. 

The  Knight  of  the  Whistle 

This  is  a capital  game  for  everybody  but  the  victim,  and 
produces  much  fun.  Some  one  who  does  not  know  the  game 
is  chosen  to  be  Knight  of  the  Whistle,  and  is  commanded  to 
kneel  down  and  receive  the  honor  of  knighthood,  which  the 
leader  (armed  with  a light  cane,  the  drawing-room  poker,  or 
other  substitute  for  a sword)  confers  in  due  form. 

While  placing  him  in  position,  opportunity  is  taken  to 
attach  to  his  back,  by  means  of  a bent  pin  or  otherwise,  a 
piece  of  string  about  a foot  in  length,  to  which  is  attached  a 
small  light  whistle.  Having  been  duly  dubbed,  in  order  to 
complete  his  dignity,  he  is  informed  that  he  must  now  go  in 
quest  of  the  Whistle,  which  is  in  the  hands  of  one  of  the 
company,  and  will  be  sounded  at  intervals,  in  order  to  guide 
him  in  his  search.  Meanwhile  the  other  players  gather  in  a 


circle  round  him,  making*  believe  to  pass  an  imaginary  object 
from  hand  to  hand.  The  victim  naturally  believes  that  this 
imaginary  object  must  be  the  long-lost  Whistle,  and  makes  a 
dash  for  it  accordingly,  when  the  player  who  happens  to  be 
behind  his  back  blows  the  actual  whistle,  and  instantly 
drops  it  again.  Round  flies  the  unhappy  Knight,  and  makes 
a fresh  dash  to  seize  the  Whistle,  but  in  vain.  No  sooner 
has  he  turned  to  a fresh  quarter  than  the  ubiquitous  Whistle 
again  sounds  behind  his  back. 


If  the  game  is  played  smartly,  and  care  taken  not  to  pull 
upon  the  cord,  the  Knight  may  often  be  kept  revolving  for  a 
considerable  period  before  he  discovers  the  secret. 

Sometimes  a lady  is  chosen  to  “dub”  the  intended  Knight, 
and  the  following  piece  of  doggerel  is  repeated,  the  1o-ader 
prompting : — 


65 


Lady.  Why  do  you  kneel  thus  low  to  implore? 

Gentleman . That  I may  remain  a mere  gent  no  more. 

Lady.  How  can  I help  your  being  a gent? 

Gentlemen.  Dub  me  a Knight — you  shall  not  repent? 

Lady.  If  I should  yield  to  your  request, 

What  knightly  duties  will  please  you  best  ? 

Gentleman.  To  wait  on  ladies  from  morn  till  night. 

And  meet  their  foes  in  deadly  fight. 

Lady.  Will  you  promise  to  heed  all  I may  say, 

And  my  will  or  whim  henceforth  to  obey  ? 

Gentleman.  Yes,  whatever  you  bid  me  do  f 

Shall  be  my  law — I belong  to  you. 

Lady.  Go,  then,  and  be  no  longer  blind, 

And  the  troublesome  Knight  of  the  Whistle  find. 

• 

'The  lady  then,  strikes  his  shoulder  with  her  fan  or  hand- 
kerchief, and  says,  “Rise  up,  Sir ” 

In  this  case  the  victim  is  not  told,  but  is  left  to  discover 
that  he  himself  is  the  Knight  of  the  Whistle. 

He  Can  Do  Little  Who  Can’t  Do  This. 

This  is  another  “sell”  of  almost  childish  simplicity,  but 
we  have  seen  people  desperately  puzzled  over  it,  and  even 
“give  it  up”  in  despair. 

The  leader  takes  a stick  (or  poker)  in  his  left  hand,  thence 
transfers  it  to  his  right,  and  thumps  three  times  on  the  floor, 
saying,  “He  can  do  little  who  can’t  do  this.”  He  then  hands 
the  stick  to  another  person,  who,  as  he  supposes,  goes 
through  exactly  the  same  performance,  but,  if  he  does  not 
know  the  game,  is  generally  told,  to  his  disgust,  that  he  has 
incurred  a forfeit,  his  imitation  not  having  been  exact. 

The  secret  lies  in  the  fact  that  the  stick,  when  passed  on, 
is  first  received  in  the  left  hand , and  thence  transferred  to 
the  right  before  going  through  the  thumping  ceremony.  An 
uninitiated  person  almost  instinctively  takes  the  stick  in  the 
right  hand  at  once.  , 

The  Farmyard. 

This  is  generally  made  use  of  as  a means  of  victimizing 
some  rather  assuming  young  gentleman.  The  leader  states 


66 


that  ne  is  about  to  give  each  person  privately  *he  name  of 
some  animal  in  the  farmyard,  and  that  when  he  gives  the  sig- 
nal, by  dropping  his  handerchief,  each  is  to  imitate  the  noise 
and  action  of  that  particular  animal — the  louder  the  better. 
He  then  goes  round  the  circle,  and  whispers  to  each,  profes- 
sedly, the  animal  he  or  she  is  to  imitate.  In  reality,  however, 
he  says  to  each,  “Remain  perfectly  silent,’’  save  when  he 
reaches  the  victim,  to  whom  he  whispers,  “The  donkey.”  He 
then  asks,  “Are  you  ready?  Now  then,  all  together  !”  and 
drops  his  handerchief.  There  is  a solemn  hush,  amid  which 
the  voice  of  the  victim  is  uplifted  with  a stentorian  “bray.” 
As  a rule,  the  subject  of  the  experiment  is  not  likely  to  make 
himself  especially  conspicuous  for  the*  remainder  of  the 
evening. 

Crossed  Questions  and  Crooked  Answers. 

This  game  is  usually  played  as  follows  : — The  players  sit 
round  in  a circle,  and  the  first,  in  a whisper,  asks  a question 
and  receives  an  answer  from  the  second.  The  second  person 
then  (also  in  a whisper)  asks  a question  of  the  third,  and  so 
on,  the  last  person  asking  a question  of  the  first.  Each  per- 
son then  states  aloud  the  question  he  or  she  was  asked , and  the 
answer  he  or  she  received , which  of  course  have  no  connection 
the  one  with  the  other.  Thus,  suppose  the  questions  and 
answers  actually  given  to  be  as  follows : — 

Q.  What  do  you  use  for  your  complexion? 

A.  Soap  and  water. 

Q.  What  is  your  favorite  study? 

A.  Three-volume  novels. 

Q.  What  are  you  going  to  have  for  dinner  to-morrow? 

A.  Roast  pork. 

Q.  What  is  the  best  thing  to  keep  your  head  warm? 

A.  A good  stiff  hair-brush. 

Q.  Who  hems  your  pocket-handkerchiefs? 

A.  My  mother-in-law. 

Q.  Whom  do  you  regard  as  the  noblest  characters  in  his- 
tory ? 


67 


A.  Helen’s  Babies. 

Q.  What  brought  you  here  to-night? 

A.  My  own  legs.  j 

Q.  What  gave  you  such  a bad  cold? 

A.  Drinking  out  of  a damp  tumbler. 

These  questions  and  answers,  duly  reported,  will  produce 
the  following  combinations: — 

No.  1.  The  question  I was  asked  was,  “What  gave  you 

such  a bad  cold?’’  and  the  answer  I received  was,  “Soap  and 
water.” 

No,  2.  The  question  I was  asked  was,  “What  do  you  use 
for  your  complexion?  ” and  the  answer  I received  was, 
“Three  volume  novels.” 

No.  3.  I was  asked,  “What  is  your  favorite  study?”  and 
the  answer  was,  “Roast  pork.” 

No.  4.  I was  asked,  “What  are  you  going  to  have  for  din* 
ner  to-morrow ?’’  and  the  answer  was,  “A  good  stiff  hair- 
brush.” 

No.  5.  The  question  asked  me  was,  “What  is  the  best 
thing  to  keep  your  head  warm  ? ” and  the  answer  I received 
was,  “My  mother-in-law.” 

No.  6.  I was  asked,  “Who  hems  your  pocket-handerker- 
chiefs?”  and  the  answer  I received  was,  “Helen’s  Babies.’1 

No.  7.  I was  asked,  “Whom  do  you  regard  as  the  noblest 
characters  in  history?’’  and  the  answer  I received  was,  “My 
own  legs.’’ 

No.  8.  I was  asked,  “What  brought  you  here  to-night?’’ 
and  the  answer  I received  was,  “Drinking  out  of  a damp 
tumbler.’’ 

This  mode  of  playing  the  game  (though  the  most  usual)  is 
subject  to  the  disadvantage  that  while  two  of  the  party  are 
exchanging  confidences  the  rest  are  left  unoccupied.  It  will 
be  found  a better  plan  to  have  a supply  of  slips  of  paper  of  ' 
two  colors,  say  pink  and  white,  and  to  give  one  of  each  to 
each  player.  Each  player  writes  a question  on  the  white 
paper,  and  passes  it  to  his  next  neighbor,  who  then  answers 
it  on  one  of  the  pink  slips  of  paper.  All  the  papers  being 


68 


then  collected,  and  well  mixed  together,  are  drawn  in 
couples,  white  and  pink  together,  and  the  question  and 
answer  on  them  read  aloud  by  the  leader. 

Russian  Gossip. 

This  is  an  illustration  of  the  old  adage  that  a story  never 
loses  in  the  telling.  The  company  being  arranged  in  a circle, 
the  leader,  in  a whisper,  communicates  to  one  of  them  the 
contents  of  a newspaper  paragraph,  or  some  anecdote,  real 
or  fictitious.  This  the  recipient  in  turn  communicates  to  his 
next  neighbor,  and  so  the  story  passes1  completely  round  the 
circle,  the  last  person  relating  aloud  the  story  as  communr 
cated  to  him.  The  original  narrative  is  then  also  read  aloud, 
when  it  is  generally  found  that  there  is  scarcely  one  feature 
of  resemblance  between  the  two  narratives;  the  extraordi- 
nary metamorphosis  the  story  has  undergone  being  produc- 
tive of  the  greatest  possible  amusement,  and  occasionally 
some  little  indignation,  each  player  thinking  it  scarcely  pos- 
sible that  a story  which  he  feels  sure  he  repeated  with  per- 
fect accuracy,  could  be  so  shamefully  garbled  by  the  other 
players. 

Thus  A tells  B that  he  was  told  by  his  barber,  that  same 
morning,  that  he  had  heard  from  Mr.  Jones’  coachman  that 
Miss  Jones  had  declined  an  offer  of  marriage  from  Lieut. 
Brown  of  the  Navy,  and  that  it  was  generally  believed  that 
she  was  in  love  with  the  brother  of  the  clergj^man  who  re- 
cently officiated  at  her  sister’s  marriage. 

B tells  C that  A’s  barber  told  his  coachman  that  Miss 
Jones  had  had  an  offer  from  Lieut.  Brown,  but  that  she  had 
refused  him,  and  that  it  was  believed  that  she  was  in  love 
with  the  clergyman  who  married  her  sister.  By  the  time 
the  story  has  been  hal£  a dozen  times  repeated  it  is  stated 
that  Miss  Jones  had  had  an  offer  from  the  celebrated  Lieut. 
Brown,  but  that  her  brother-in-law,  the  clergj^man,  had 
raised  great  objections  to  the  match,  and  that  she  had  since 
eloped  with  the  coachman’s  brother,  who  was  a barber  in  the 
Oxland  Building. 


69 


How?  When?  and  Where? 


Thjsis  Mrame  having:  some  little  resemblance  to  that  of 
the  Twenty  Questions.”  One  member  of  the  company 
leaves  the  room,  and  a word,  generally  one  admitting-  of  more 
than  one  interpretation,  is  chosen  in  his  absence.  On  his 
-eturn  he  asks  each  person  in  succession,  “How  do  you  like 
t?’  the  person  interrogated  being  bound  to  return  an  appro- 
bate answer.  He  then  inquires  in  the  same  way  of  each, 
Wnen  do  you  like  it?”  and  finally,  unless  he  has  previously 
ruessed  the  word,  “Where  do  you  like  it?  ’’  If  he  succeeds 
a guessing,  he  is  called  upon  to  declare  whose  answer  fur- 
ushed  him  with  the  clue  to  the  secret,  when  the  person  who 
ave  such  answer  must  in  turn  retire  and  become  the  ques- 
IO?5;  Y6  supPose;  example,  that  the  word  chosen 
,ss  . The  word,  it  will  be  observed,  is  perceptible  of 
weral  meanings,  as  window-glass,  opera-glass,  looking- 
lass,  drmking-glass,  weather-glass,  etc. 

The  questioner  proceeds  to  inquire,  “How  do  you  like  it?” 
id  receives  the  following  answers.  1.  Full.  2.  Bright.  3. 

‘fi:  4-  Clear.  S.  Strong.  6.  Rising.  7.  With  ice  in  it. 
With  something-  hot. 

To  the  second  question.  “When  do  you  like  it?”  the  replies 
ay  be—  1.  When  I am  smoking  a pipe.  2.  When  I wish  to 
: very  good-looking.  3.  After  dinner.  4.  After  supper.  S. 

1 aiTn  S'0111"  t0  see  111 7 lady-love.  6.  When  I am  cold. 
When  I am  shaving,  6.  When  I am  out  of  spirits. 

“Where  do  you  like  it  ? ” 'may  b.e  answered  as  follows:  1. 

herever  I dan  get  it.  2.  Hanging  fip  in  the  hall.  3.  On  my 
essjqg-table.  4.  Facing  a pretty  girl,  with  myself  behind 
r.  5.  At  the  theater.  6.  On  a race-course.  7.  In  the  cap- 
n’s  cabin.  8.  Close  by  a full  bottle,  etc. 

We  may  safely  assume  that  the  questioner  has  ere  this 

essed  the  word,  and  will  leave,  the  reader  to  decide  which 

the  answers  is  most^  likely  to  have  directed  him  to  the 
icovery  of  the  secret. 


70 


The  Two  Hats. 

This  is  a modern  version  of  the  old  “Game  of  Contraries.” 
The  leader  brings  forward  two  hats ; one  he  places  on  his 
own  head,  and  hands  the  other  to  one  of  the  company,  with 
Whom  he  enters  into  conversation.  The  person  addressed 
must  stand  when  the  leader  sits,  and  sit  when  he  stands; 
take  off  his  hat  when  the  leader  puts  on  his,  and  vice  versa . 
A failure  in  any  of  these  particulars  is  punishable  by  a for- 
feit. The  conversation  may  be  somewhat  as  follows : — 

Leader  (standing  and  wearing  his  own  hat).  Allow  me 
to  offer  you  a hat,  sir.  (Sits  down.) 

Victim  (standing  up).  I am  much  obliged  to  you,  but  ] 
already  have  one. 

Leader.  Scarcely  so  becoming  as  this  one,  I think.  Bui 
won’t  you  try  it  on?  (Stands  up,  and  victim  sits  down.] 
Allow  me  to  place  it  on  your  head. 

Victim.  Not  at  present,  thank  you,  though  I quite  admb 
it  is  a very  charming  hat. 

Leader  (throwing  himself  into  a chair,  and  fanning  him 
self  with  his  hat).  Dear  me,  how  very  hot  the  room  is!  Praj 
don’t  rise  on  my  account.  (Victim  stands  up,  but  omits  t< 
put  on  his  hat,  whereby  he  incurs  a forfeit,  and  the  leadei 
passes  on  to  endeavor  to  entrap  some  other  player.) 


Shadow  Pantomime 


This  is  a form  of  dramatic  performance  which  is  bes 
suited  to  rather  young  players,  but,  properly  managed,  i 
may  not  only  be  made  great  fun  to  the  performers,  but 
fertile  source  of  amusement  to  the  spectators. 

The  “screen”  should  be  tightly  stretched  on  a woode; 
frame,  and  should  consist  of  the  kind  of  muslin  used  fo 
transparencies,  which  may  be  had  very  wide  without  a sean 
For  lack  of  this  a fine  sheet  will  make  a very  fair  substitute 


71 


>ut  it  the  latter  it  should  be  wet  and  wrung  «mt  to 
ender  it  more  transparent.  In  any  case  care  should  be 
aken  to  secure  a closely  woven  material,  as  any  rays  of  light 
•hining  between  the  threads  would  have  a very  bad  effect. 
U1  lights  should  be  put  out  on  the  spectator’s  side  of  the 
.creen,  and  the  opposite  side  should  be  lighted  by  one  lamp 
»nly.  This  should  be  a low  flat  lamp,  fitted  with  a 
luplex  burner  of  tolerably  large  size,  and  burning  the  very 
>est  kerosene  or  a purified  paraffin  oil.  This  lamp  should  be 
>laced  in  a box  or  case  purposely  made  to  receive  it,  and 
vhich  should  be  closed  on  every  side  save  that  looking  to- 
vards  the  sheet,  and  should  be  only  so  high  as  just  to  admit 
he  lamp,  and  to  allow  of  some  sort  of  guard  over  the  chim- 
ley,  to  prevent  the  top  of  the  box  being  scorched  by  the  in- 
;ense  heat.  The  box  should  be  substantial  enough  to  prevent 
ts  being  readily  kicked  over,  and,  if  practicable,  screwed 
lown  to  the  floor.  The  inside  should  be  lined  with  bright 
;in,  or,  better  still,  a concave  reflector  should  be  fixed  at  the 
jack  of  the  box,  just  behind  the  light.  Gas  may  be  used,  if 
^referred,  but  it  must  be  remembered  that  to  render  the 
shadows  sharp  and  well  defined,  all  the  light  must  proceed 
:rom  a single  burner  ; indeed,  so  essential  is  it  that  all  the 
-ays  should  originate  from  one  point,  that  where  a flat- 
lame  burner  is  used,  it  is  found  necessary  to  turn  it  edge- 
ways to  the  screen.  If  such  a box  as  above  described  is  not 
available,  a four-legged  wooden  stool  may  be  used  as  a sub- 
stitute, a tin  or  iron  plate  being  fixed  beneath  to  prevent  the 
charring  of  the  wood.  Some  performers  use  an  unguarded 
Light,  with  a stool  placed  behmd  it,  for  the  performers  to  step 
up  and  down  from ; but  there  is  far  too  much  risk  about  this 
plan,  as  the  accidental  kicking  over  of  the  lamp  might  readily 
turn  the  pantomime  into  a very  serious  tragedy.  The  plan 
we  have  recommended,  though  it  involves  a little  more  troub- 
le, will  be  found  in  every  way  more  satisfactory. 

The  position  of  the  light  above  described  will  be  referred 
to  as  the  “first,”  or  ordinary  position,  and  in  default  of 


72 


special  mention  to  the  contrary,  it  will  be  assumed  that  the 
lamp  is  thus  placed.  A couple  of  feet  or  so  behind  the  box 
in  question  there  should  be  a stool  or  table  about  two  feet 
high,  to  which  the  lamp  may  be  transferred  at  pleasure. 
This  will  be  referred  to  as  the  “second”  position. 

To  produce  clear  and  sharply  defined  shadows  on  the 
screen,  the  objects  to  be  reflected,  whether  animate  or  inani- 
mate, should  be  as  close  to  it  as  possible.  Living  actors 
should  always  be  seen  in  profile,  and  to  ensure  this  will  re- 
quire diligent  rehearsal  under  the  guidance  of  a careful  stage 
manager,  for  the  actor  cannot  himself  see  whether  his  reflec- 
tion is  as  it  shquld  be.  If  he  turns  ever 1 so  little  to  try  to' 
catch  sight  of  his  features,  the  profile  is  a profile  no  longer. 
For  like  reasons,  the  actors  must  avoid  standing  one  in  front 
of  another,  or  their  shadows  will  instantly  become  confused. 
If  the  action  requires  that  two  actors  should  pa^s-  each  other 
they  should  do  so  as  rapidly  as  possible,  and  if  they  are  re- 
quired to  turn  round,  they  must  do  so  with  an  instantaneous ; 
“right  about-face,”  bringing  the  features  again  into  profile; 
from  the  opposite  side.  Furniture,  in  like  manner,  will  de- 
mand special  treatment.  An  ordinary  dining-table,  when 
reflected  against  the  screen,  would  look  something  like  a car- 
penter’s bench,  or  an  old-fashioned  square  piano;'the  width  of 
the  top  being  transformed,  in  shadow,  into  apparent  depth. 
Where  it  is  not  required  that  a table  or  chair  should,  in  stag£ 
parlance,  be  “practicable,”  i.e.,  capable  of  being  used  as  a 
table  or  chair,  its  representation  may  be  cut  out  of  paste- 
board, and  pinned  or  otherwise  fastened  to  the  screen.  But 
where  a table  is  required  to  place  articles  upon  (as  for  a 
stage  banquet,  or  the  like),  the  best  plan  is  to  make,  or  have 
made  by  a carpenter,  a table  of  very  light  de^l.  In  length  it 
will  be  of  the  actual  length  it  is  intended  to  appear  ; 
but  in  width  it  should  not  be  more  than  six  or  eight  inches. 
Of  course  the  slightest  and  roughest  workmanship  will  suf- 
fice. Other  articles  of  furniture  may  be  constructed  on  the 
same  principle.  4 


I 


73 


Where  scenery  is  required,  it  may  be  cut  out  of  stiff  white 
or  brown  paper  (according-  to  the  degree  of  opacity  required) 
and  pinned  to  the  screen. 

The  point  that  most  puzzles  the  uninitiated  with  reference 
to  a shadow  pantomime  is  the  extraordinary  manner  in  which 
the  characters  make  their  entrances  and  exits.  Instead  of 
coming-  on  at  the  side,  after  the  ordinary  fashion  (thoug-h  this 
is  sometimes  done,  by  way  of  variety),  they  g-enerally  enter 
by  dropping  down,  apparently  from  the  ceiling,  and  exeunt 


SHADOW  PANTOMIME*  Fig.  1. 

by  flying  up  there  again  in  a most  weird  and  uncanny  man- 
ner (see  fig.  1).  This  curious  effect  is  produced  by  jumping 
over  the  light,  and  the  reader  will  now  see  the  object  of  the 
substantial  box  or  case  we  have  described.  The  performer 
can  jump  on  or  off  the  top  of  a box  so  arranged  with  perfect 
safety;  but  where  he  has  to  jump  over  a naked  light  on  to  a 
box  behind  it.  there  is  a constant  element  of  danger.  A refer- 
ence to  Fig.  2 will  show  more  clearly  how  this  curious  ef- 
fect of  vanishing  into  space  is  produced. 


74 


The  light  only  throws  a shadow  on  the  screen  within  the 
limits  of  imaginary  straight  lines  drawn  from  the  light  to 
the  extreme  corners  of  the  screen.  So  long  as  any  object 
remains  within  these  limits  it  is  visible  on  the  screen,  but 
the  moment  it  passes  outside  them  it  is  no  longer  between 
the  light  and  the  screen,  and  therefore  no  longer  throws  a 
shadow. 


SHADOW  PANTOMIME.  Fig.  2. 


Necessary  articles  of  furniture,  or  the  like,  are  introduced 
or  got  rid  of  over  the  light  in  like  manner;  the  stage  mana- 
ger holding  them,  when  wanted,  just  within  arm’s  reach, 
but  outside  of  the  line  of  shadow.  The  effect  of  a chair 
or  table  floating  gently  down  from'  above  to  the  hand  of 
the  performer  is  most  absurd. 

As  outline  is  the  only  consideration,  not  only  the  manu- 
facture of  stage  properties,  but  the  make-up  of  the  perfor- 
mers is  an  extremely  easy  process.  Pasteboard  is  the 
universal  material.  From  swords  and  axes  to  beer-jugs  and 


75 


coal-scuttles,  a few  sheets  of  pasteboard  will  furnish  all  that 
is  required.  A hump  on  the  back,  or  a horse’s  head,  may 
be  manufactured  in  like  manner.  A false  nose  or  chin 
is  equally  within  its  range.  All  that  you  have  to  do  is  to  cut 
out  the  desired  feature  (say  a nose)  in  duplicate.  Glue  to- 
gether the  portions  forming  the  projecting  part  of  the  nose, 
and  the  unglued  portions  will  form  a convenient  clip  to  em- 
brace the  natural  organ.  To  secure  the  pasteboard  feature 
in  position,  you  may  either  use  a piece  of  adhesive  plaster, 
or  a thread  passing  round  the  head  and  tied  behind.  Fluids, 
as  for  instance  beer  poured  from  a jug,  are  represented  by 
saw-dust  or  sand,  a paper-bag  full  of  which,  stuck  just  inside 
the  waistcoat,  will  enable  a wounded  combatant  to  bleed  in 
the  most  copious  and  affecting  manner. 

A curious  effect  may  be  produced  by  holding  objects  cut 
out  in  pasteboard  first  at  right  angles  to  the  screen,  and  then 
gradually  shifting  them  round  till  they  are  parallel  with  it. 
In  the  former  position  the  article  throws  meyely  an  upright 
streak  of  shadow  on  the  screen,  thence  gradually  developing 
to  its  full  form  and  dimensions. 

Many  of  the  small  pantomime  tricks  used  in  the  miniature 
theaters  may  be  enlarged  with  very  good  effect  for  the  pur- 
pose of  the  Shadow  Pantomime. 

Multiplying  Shadows. 

Before  quitting  the  subject  of  the  Shadow  Pantomime,  we 
may  give  a passing  mention  to  the  subject  of  the  curious 
optical  illusion  called  “The  Multiplying  Shadows/’  some- 
times also  known,  from  one  form  in  which  it  is  presented, 
as  The  Witches’  Dance.  A glance  at  our  illustration  will 
go  far  to  explain  it.  A dummy  figure  (suppose  that  of  a 
witch,  riding  on  the  conventional  broomstick)  is  suspended  by 
fine  threads  or  wires  on  the  side  of  the  screen  remote  from 
the  ^spectators.  Behind  this  are  ranged,  one  behind  the 
other,  and  at  right  angles  to  the  screen,  a row  of  lighted 
candles.  Being  all  in  the  same  line,  they  throw  one  shadow 


76 


only  on  the  screen.  The  figure  is  now  made  to  oscillate 
slightly,  so  as  to  impart  some  little  motion  to  the  shadow. 
One  of  the  candles  is  now  removed  from  its  place  in  the  row, 
and  waved  gently  about,  now  high,  now  low,  the  effect  to  the 
spectators  being  that  a second  shadow  springs  out  of  the 

k 


THE  WITCHES’  DANCE. 

first,  and  dances  about  it  on  the  screen.  A second  and  third 
candle  is  then  removed,  and  waved  up  and  down,  each  candle 
as  it  leaves  its  place  in  the  line  producing  a separate  shadow. 
It  is  well  to  have  three  or  four  assistants,  each  taking  «. 
candle  in  each  hand. 


Drawing-Room  Magic 


Card  Tricks. 

We  shall  devote  the  next  following-  Chapters  to  the  expla- 
nation of  a few  elementary  feats  of  Drawing-Room  Magic. 
In  the  present  pages  we  propose  to  limit  our  description  to 
such  illusions  as  demand  a comparatively  small  amount  of 
personal  dexterity,  and  little  or  no  “apparatus’’. 

We  will  comence  with  the  ever  popular  class  of  tricks  per- 
formed with  playing  cards,  and  for  this  purpose  it  will  be 
necessary  in  the  first  instance  to  describe  two  or  three 
sleight-of-hand  processes  on  the  use  of  which  the  higher-class 
card  tricks  mainly  depend.  To  facilitate  their  acquirement, 
we  should  recommend  the  amateur,  where  practicable,  to 
use  cards  of  a small  size.  In  any  case,  it  is  well  to  use  only 
the  piquet  pack  of  thirty-two  cards  (the  twos,  threes,  fours, 
fives,  and  sixes  being  removed),  the  complete  whist  pack 
being  inconveniently  bulky  for  sleight-of-hand  'purposes. 

To  Make  the  Pass.  # 

{Sauter  la  Coufe). — The  effect  of  this  sleight,  which  is  the 
very  backbone  of  card-conjuring,  is  to  reverse  the  respective 
positions  of  the  upper  and  lower  halves  of  the  pack,  i.e,,  to 
make  those  cards  which  at  first  formed  the  lower  half  come 
uppermost,  when  those  cards  which  at  first  formed  the 
upper  half  will  of  course  be  undermost.  It  is  used  by  card- 
sharpers,  immediately  after  the  cards  have  been  cut,  to  re- 
place them  in  the  position  which  they  occupied  before  the 
cut,  and  from  this  circumstance  derives  its  French  name. 
T is  performed  as  follows:  — 

Hold  the  pack  in  the  left  hand,  lengthways,  with  the  face 
downwards,  as  if  about  to  deal  at  any  card  game.  In  this 
position  the  thumb  will  naturally  be  on  the  left  side  of  the 
pack,  and  the  four  fingers  on  the  otb^r-  Insert  the  top  joint 


78 


of  the  little  finger  immediately  above  those  cards  which  are 
to  be  brought  to  the  top  of  the  pack  (and  which  are  now 
undermost),  and  let  the  remaining  three  fingers  close  natur- 
ally on  the  remaining  cards,  which  are  now  uppermost.  In 
this  position  you  will  find  that  the  uppermost  part  of  the 
pack  is  held  between  the  little  finger,  which  is  underneath, 
and  the  remaining  fingers,  which  are  upon  it.  Advance  the 
right  hand,  and  cover  the  pack  with  it.  Grasp  the  lower  por- 
tion of  the  pack  lengthways  between  the  second  finger  at  the 
upper  and  the  thumb  at  the  lower  end,  the  left  thumb  lying, 
slightly  bent,  across  the  pack.  Press  the  inner  edge  of  the 
lower  packet  into  the  fork  of  the  left  thumb.  Next  draw 
away  the  upper  packet,  by  slightly  extending  the  fingers  of 
the  left  hand,  at  the  same  time  lifting  up  the  outer  edge  of  the 
lower  packet,  till  the  edges  of  the  two  packets  just  dear  each 
other,  when  by  the  mere  act  of  closing  the  left  hand  they 
will  be  brought  together  as  at  first,  save  that  they  will  have 
changed  places.  Do  this  at  first  very  slowly,  aiming  only  at 
neatness  and  noiselessness  of  execution.  At  the  outset  the 
task  will  be  found  somewhat  difficult,  but  gradually  the  hands 
will  be  found  to  acquire  a sort  of  sympathetic  action;  the 
different  movements  which  we  have  above  described  will 
melt,  as  it  were,  into  one,  and  the  two  packets  will  change 
places  with  such  lightness  and  rapidity  that  they  will  seem 
to  actually  pass  through  each  other.  A slight  momentary 
depression  and  elevation  of  the  hands  (apparent^  a mere 
(careless  gesture)  in  the  act  of  making  the  pass  will  completely 
cover  the  transportation  of  the  cards,  which  in  the  hands  of 
an  adept  is  invisible,  even  to  the  most  watchful  spectator. 

It  is  sometimes  necessary  to  cause  the  two  halves  of  the 
pack  to  “kiss,”  i.e ,.  to  bring  them  face  to  face.  This  is  ef- 
fected by  turning  the  original  upper  packet  face  upwards  in 
the  act  of  bringing  the  transposed  packets  together.  When 
the  pass  in  the  ordinary  form  is  fairly  mastered,  this  slight 
variation  will  occasion  no  additional  difficulty. 

In  this,  as  in  all  other  branches  of  prestidigitation,  the 


19 


student  will  find  it  of  the  greatest  possible  advantage  to 
practice  before  a looking-glass.  By  this  means,  better  than 
any  other,  he  will  be  enabled  to  judge  how  far  his  movements 
succeed  in  deceiving  the  eyes  of  a spectator.  One  caution 
may  here  be  given  with  advantage:  the  student  of  legerde- 
main must  learn  to  perform  all  necessary  movements  'with- 
out looking  at  his  hands , unless  for  some  special  reason  he 
desires  the  spectators  to  look  at  them  also.  In  every  case, 
wherever  the  performer  desires  his  audience  to  look,  his  own 
eyes  must  take  that  same  direction;  and  wherever  he  desires 
his  audience  not  to  look,  he  himself  must  carefully  abstain 
from  looking.  Let  us  suppose,  for  instance,  that  a person 
has  drawn  a card,  and  has  replaced  it  in  the  middle  of  the 
pack.  The  performer  desires  to  bring  it  to  the  top,  for 
which  purpose  it  is  necessary  to  introduce  the  little  finger 
above  the  card  in  question,  and  to  make  the  pass,  as  above 
described.  When  the  card  is  replaced  in  the  pack,  the  eyes 
of  the  drawer  are  naturally  directed  towards  it ; and  if  the 
performer  were  himself  to  look  downward  at  the  cards,  it 
would  multiply  tenfold  the  chances  of  detection.  He  should 
pause  for  a moment,  and  looking  full  at  the  person  who  drew 
the  card,  ask,  “You  are  certain  that  you  will  know  that  card 
again?”  or  make  some  similar  observation.  As  he  speaks,  a 
natural  impulse  will  draw  the  eyes  of  the  audience  to  his  own 
face,  and  he  may  then  make  the  pass  without  the  slight 
necessary  movement  attracting  the  least  attention. 

To  “Force”  a Card. 

By  this  phrase  is  signified  the  compelling  a person  to  draw 
such  card  as  you  desire,  though  he  is  apparently  allowed 
absolute  freedom  of  choice.  Your  first  step  is  to  get  sight 
of  the  bottom  card,  or,  if  you  want  to  force  a predetermined 
card,  to  get  that  card  to  the  bottom.  Having  done  this,  take 
the  pack  in  the  left  hand,  and  insert  the  little  finger  halfway 
down,  in  readiness  for  the  pass.  Make  the  pass  as  above 
described,  but,  before  uniting  the  two  halves  of  the  pack  in 


80 


t 

their  new  position,  again  slip  the  little  finger  of  the  left  hand 
between  them.  (The  two  halves  wall  now  be  united  at  the 
end  which  is  towards  the  spectators,  but  divided  by  the  little 
finger  at  the  end  nearest  to  yourself;  and  the  original  bottom 
card,  which  is  the  one  you  desire  to  force,  is  now  at  the  bot- 
tom of  the  upper  heap,  resting  on  the  little  finger.)  Using 
both  hands,  with  the  thumbs  above  and  the  fingers  below  the 
pack,  spread  out  the  cards  fan  wise  from  left  to  right,  at  the 
same  time  offering  them  to  the  person  who  is  to  draw,  and 
requesting  him  to  select  a card.  Keep  the  little  finger  of  the 
left  hand  still  on  the  face  of  the  card  to  be  chosen,  or  you 
may  now  use,  if  more  convenient,  the  same  finger  of  the  right 
hand,  both  being  underneath  the  cards.  As  the  person  ad- 
vances his  hand  to  draw,  move  the  cards  onward  with  the 
thumb,  so  that  the  particular  card  shall  reach  his  fingers 
just  at  the  moment  wii'en  he  closes  them  in  order  to  draw; 
and,  if  you  have  followed  these  directions  properly,  it  is  ten 
to  one  that  he  will  draw  the  card  you  wish. 

It  may  possibly  be  imagined  that  forcing  a card  is  a very 
difficult  matter,  and  requires  an  extraordinary  degree  of 
dexterity  ; but  this  is  by  no  means  the  aase.  The  principal 
thine*  against  which  a beginner  must  guard,  is  a tendency  to 
offer  the  particular  card  a little  too  soon.  When  the  cards 
are  first  presented  to  the  drawer,  the  pack  should  be  barely 
spread  at  all,  and  the  card  in  question  should  be  ten  or  fifteen 
cards  off.  The  momentary  hesitation  of  the  drawer  in  mak- 
ing his  choice  will  give  time,  by  moving  the  cards  quicker  or 
slower,  as  may  be  necessary,  to  bring  that  card  opposite  his 
fingers  at  the  right  moment.  Should  the  performer,  however, 
miscalculate  his  time,  and  the  card  pass  the  drawer’s  fingers 
before  the  choice  is  made,  there  is  still  no  reason  to  appre- 
hend a failure.  Still  keeping  the  little  finger  on  the  card,  tfie 
performer  should  sharply  close  the  cards,  and  making  some 
remark  as  to  the  drawer  being  “difficult  to  please,’’  or  the 
like,  again  spread  them  as  before,  and  offer  them  for  the 
choice. 


81 


To  “Palm”  a Card. 

Bring'  the  card  which  you  desire  to  palm  (by  the  pass  or 
otherwise)  to  the  top  of  the  pack.  Hold  the  pack  face  down- 
wards in  the  left  hand,  covering  it  lengthways  with  the  right. 
With  the  left  thumb  push  the  top  card  till  it  projects 
about  an  inch  beyond  the  edge  of  the  pack.  With  the  third 
finger  of  the  left  hand,  which  is  now  immediately  below  the 
card,  press  it  upwards  into  the  right  hand,  which  should  half 
close  over  it.  You  must  not  mind  about  bending  the  card, 
which  will  lie  curled  up  against  the  inside  of  the  hand.  You 
may  either  let  the  hand  drop  negligently  to  your  side,  or,  still 
better,  take  the  pack  between  the  fingers  and  thumb  of  the 
same  hand  and  offer  it  to  be  shuffled.  This  will  give  you  the 
opportunity,  often  very  valuable,  of  seeing  what  the  card  in 
question  is.  When  it  becomes  necessary  to  return  the  card 
to  the  pack,  the  mere  motion  of  taking  the  pack  in  the  right 
hand,  whether  from  the  left  hand  or  from  the  table,  will  effect 
that  object  in  the  most  natural  manner. 


To  “Slip”  a Card. 

Hold  the  pack  in  the  left  hand,  having  first  slightly  moist- 
ened the  fingers,  which  should  rest  upon  the  back  of  the 
cards*  Open  the  pack  bookwise,  at  an  angle  of  about  45°, 


82 


holding-  the  upper  packet  leng-thways  between  the  thumb  and 
second  finger  of  the  right  hand.  Draw  this  upper  packet 
smartly  upwards  to  a distance  of  two  or  three  inches  from 
the  lower  packet.  (See  fig.  1.)  The  top  card  of  the  upper 
packet,  being  held  back  by  the  pressure  of  the  fingers  upon 
it,  will  not  move  upwards  with  the  rest  of  the  packet ; but 
immediately  the  remaining  cards  are  clear,  will  fold  itself 
down  on  the  top  of  the  lower  packet.  If  the  top  card  of  the 
lower  packet  be  examined  before  and  after  the  slip,  the  card 
will  appear  to  have  changed,  the  fact  being  that  the  original 
top  card  becomes  the  second  after  the  slip,  the  slipped  card 
covering  it. 

The  various  sleights  above  described  will  cost  the  student 
some  little  time  and  perseverance  before  they  are  fairly 
mastered,  and  until  they  are  so  it  is  hopeless  to  attempt  any 
of  the  more  brilliant  feats.  In  the  meantime,  however,  he 
will  find  in  the  following  pages  many  tricks  for  which  sleight- 
of-hand  is  not  necessary,  but  which,  if  performed  with  neat- 
ness and  tact,  will  cause  considerable  astonishment  to  the 
uninitiated. 

Two  cautions  will  here  be  useful.  First,  Never  tell  your 
audience  beforehand  what  you  are  going  to  do.  If  you  do  so, 
you  at  once  give  their  vigilance  the  direction  which  it  is  most 
necessary  to  avoid,  and  increase  tenfold  the  chances  of  detec- 
tion. Secondly  (this  is,  indeed,  a practical  corollary  of  the 
first  rule),  Never  perform  the  same  trick  twice  on  the  same 
evenmg.  The  best  trick  loses  half  its  effect  on  repetition, 
but,  besides  this,  the  audience  know  precisely  what  is  com- 
ing, and  have  all  their  faculties  directed  to  find  out  at  what 
point  you  cheated  their  eyes  on  the  first  occasion.  It  is  some- 
times hard  to  resist  an  encore , but  a little  tact  will  get  you 
out  of  the  difficulty.  Thirdly,  the  student  must  cultivate 
from  the  outset  the  art  of  “ talking,’’  and  especially  the 
power  of  using  his  eyes  and  his  tongue  independently  of  the 
movement  of  his  hands.  To  do  this,  it  will  be  necessary  to 
prepare  beforehand  not  only  what  he  intends  to  do , but  what 


83 


he  intends  to  say , and  to  rehearse  frequently  and  carefully 
even  the  simplest  trick  before  attempting-  it  in  public.  It  is 
surprising  how  many  little  difficulties  are  discovered  on  first 
attempting  to  carry  into  effect  even  the  clearest  written  di- 
rections ; and  nothing  but  practice  will  overcome  these  diffi- 
culties. 

With  this  brief  introduction  we  proceed  from  precept 
to  performance. 


DRAWING-ROOM  MAGIC,  Fig.  2. 


To  make  a card  vanish  from  the  pack,  and  be  found  in  a 
person’s  pocket. 

Slightly  moisten  the  back  of  your  left  hand.  Offer  the 
pack  to  be  shuffled.  Place  it  face  downwards  on  the  table, 
and  request  one  of  the  company  to  look  at  the  top  card.  Re- 
quest him  to  place  the  back  of  his  left  hand  upon  the  cards, 
and  press  heavily  upon  it  with  his  right.  In  order  that  he 
may  the  better  comprehend  your  meaning,  place  your  own 
hands  as  described  (See  fig.  2),  and  request  him  to  imitate 
you.  When  you  remove  your  left  hand,  the  back  being  moist- 
ened, the  card  will  stick  to  it.  Put  your  hands  carelessly 
behind  you,  and  with  the  right  hand  remove  the  card.  All 


84 


will  crowd  round  to  see  the  trick.  Pretend  to  be  very  parti- 
cular that  the  person  who  places  his  hand  on  the  card  shall 
do  so  in  precisely  the  right  position.  This  will  not  only  give 
you  time,  but  draw  all  eyes  to  his  hands.  Meanwhile,  watch 
your  opportunity  and  slip  the  card  into  the  tail-pocket  of  one 
or  other  of  the  spectators.  Now  announce  that  jmu  are  about 
to  order  the  top  card,  which  all  have  seen,  and  which  Mr.  A. 
is  holding  down  so  exceedingly  tight,  to  fly  away  from  the 
pack  and  into  the  pocket  of  Mr.  B.  (making  the  choice  ap- 
apparently  hap-hazard).  On  examination  your  comijiands 
will  be  found  to  have  been  fulfilled.  It  has  a good  effect, 
when  practicable,  to  slip  the  card  into  the  pocket  of  the  same 
person  who  is  pressing  upon  the  pack. 


To  place  the  Four  Kings  in  different  parts  of  the  pack,  and 
to  bring  them  together  by  a simple  cut. 

Take  the  four  kings  (or  any  other  four  cards  at  pleasure), 
and  exhibit  them  fanwise  (See  fig.  3),  but  secretly  place 
behind  the  second  one  (the  king  of  diamonds  in  the  figure) 


85 


vo  other  court  cards  of  any  description,  which,  being*  thus 

idden  behind  the  king*,  will  not  be  visible.  The  audience 

sing*  satisfied  that  the  four  cards  are  really  the  four  king’s, 

id  none  other,  fold  them  together,  and  place  them  at  the 

*p  of  the  pack.  Cal]  attention  to  the  fact  that  you  are  about 

• distribute  these  four  kings  in  different  parts  of  the  pack. 

ake  up  the  top  card,  which,  being  really  a king,  you  may 

:hibit  (without  apparent  intention)  and  place  it  at  the  bot- 

m.  Take  the  next  card,  which  the  spectators  also  suppose 

be  a king,  and  place  it  about  halfway  down  the  pack,  and 

e next,  in  like  manner,  a little  higher.  Take  the  fourth 

rd,  which,  being  actually  a king,  you  may  show  carelessly, 

id  replace  it  on  the  top  of  the  pack.  /You  have  now  really 

ree  kings  at  the  top  and  one  at  the  bottom,  though  the 

idience  imagine  that  they  have  seen  them  distributed  in 

fferent  parts  of  the  pack,  and  are  proportionately  surprised 

hen  the  cards  are  cut,  to  find  that  all  the  kings  are  again 

gether.  It  is  best  to  use  two  Jacks  for  the  two  extra  cards, 

. v 7 

being  less  distinguishable  from  the  kings,  should  a spec- 

tor  catch  a chance  glimpse, of  their  faces. 

There  are  other  and  better  modes  of  bringing  together 

ur  apparently  separated  cards  by  the  aid  of  sleight-of-hand, 

lich  will  be  explained  in  due  course;  but  we  have  thought 

well  to  give  also  this  simpler  method,  as  it  is  always  an  f 

vantage  to  possess  two  different  modes  of  performing  the 

me  feat. 

le  Four  Kings  being  placed  under  the  hand  of  one  person, 
and  the  Four  Sevens  under  the  hand  of  another,  make 
them  change  places  at  command. 

Exhibit,  fanwise,  in  one  hand  the  four  kings,  and  in  the 
her  the  four  eights.  Behind  the  hindmost  of  the  kings, 
d so  as  not  to  be  noticeable  by  the  audience,  secretly  place 
forehand  the  four  sevens.  Hold  the  four  eights  in  the 
her  hand  in  such  manner  that  the  lower  of  the  two  center 
ps  of  the  foremost  is  concealed  by  the  first  and  second 


Sneers.  The  same  pip  on  each  of  the  other  cards  will  b 
concealed  by  the  card  immediately  before  it,  so  that  the  fou 
cards  will  appear  to  the  spectators  equally  like  the  sevens 
Place  the  pack  face  downwards  on  the  table.  Draw  attentio 
to  the  fact  that  you  hold  in  one  hand  the  four  kings,  and  1 
the  other  the  four  sevens  (really  the  disguised  eights).  Fo 
up  the  supposed  sevens,  and  place  them  on  the  pack.  Fo 
up  the  kings,  and  place  them  on  the  top  of  the  suppose! 
sevens.  As  the  real  sevens  were  behind  the  last  of  the  king, 
they  are  now  on  the  top,  with  the  kings  next,  though 
audience  are  persuaded  that  the  kings  are  uppermost,  aq 
the  sevens  next  following.  Deal  off,  slowly  and  careful! 
the  four  top  cards,  saying.  “I  take  off  these  four  kings 
and  lay  them  on  the  table,  requesting  one  of  the  spe^toi 
to  place  his  hand  firmly  upon  them.  Do  the  same  with  t 
next  four  cards  (which  are  really  the  kings).  Ask  i 
persons  in  charge  of  the  cards  are  quite  sure  that  they  a, 
still  under  their  hands,  and,  upon  receiving  their  assuran, 
to  that  effect,  command  the  cards  they  hold  to  change  place 
which  they  will  be  found  to  have  done. 


Four  packets  of  cards  having  been  formed  face  downwar 
on  the  table,  discover  the  total  value  of  the  undl 

most  cards. 


This  trick  must  be  performed  with  the  piquet  pack 
thirty-two  cards.  Invite  one  of  the  spectators  to  pr.va 
select  any  four  cards,  and  to  place  them,  separately  and  fa 
downwards,  on  the  table  ; then,  counting  an  ace  as  eleve 
court  card  as  ten,  and  any  other  card  according  to  the  numb 
of  Tts  pips,  place  upon  each  of  these  four  so  many  car 
as,  added  to  its  value  thus  estimated,  shall  make  fifteen.  I 
must  be  remembered  that  value  is  only  to  be  taken  into  c. 
sideration  as  to  the  original  four  cards,  those  placed  on  t 
counting  as  one  each,  whatever  they  may  happen  to  be  ) Y 
meanwhile  retire.  When  the  four  heaps  are  complete,  « 
vance  to  the  table,  and  observe  how  many  cards  are  1 


87 


7er  and  above  the  four  heaps.  To  this  number  mentally  add 
lirty-two.  The  total  will  give  you  the  aggregate  value  of 
le  four  lowest  cards,  calculated  as  above  mentioned. 

You  should  not  let  your  audience  perceive  that  you  count 
le  remaining  cards,  or  they  will  readily  conjecture  that  the 
*ick  depends  on  some  arithmetical  principle.  You  may  say, 
You  will  observe  that  I do  not  look  even  at  one  single  card;’’ 
id,  so  saying,  throw  down  the  surplus  cards  with  apparent 
irelessness  upon  the  table,  when  they  are  sure  to  fall  suffi- 
ently  scattered  to  enable  you  to  count  them  without  attract- 
fg  observation. 

v arrange  twelve  cards  in  rows,  in  such  a manner  that  they 
will  count  four  in  every  direction. 

This  is  rather  a puzzle  than  a conjuring  trick,  but  may 
unetimes  serve  as  an  interlude  to  occupy  thejninds  of  your 
idience  while  you  are  preparing  for  some  other  feat.  The 
icret  is  to  place  nine  of  the  twelve  cards  in  three  rows,  so 
5 to  form  a square  ; then,  place  the  remaining  three  cards  as 
>llows ; the  first  on  the  first  card  of  the  first  row,  the 
jcond  on  the  second  card  of  the  second  row,  and  the  last  on 
le  third  card  of  the  last  row. 

0 place  the  Aces  and  Court  Cards  in  four  rows,  in  such  a 

manner  that  neither  horizontally  nor  vertically  shall 
there  be  in  either  row  two  cards  alike  either  in  suit  or 
value. 

This  also  is  a puzzle,  and  a very  good  one.  Tne  key  to  it 
> to  begin  by  placing  four  cards  of  like  value  (say  four 
ings)  in  a diagonal  line  from  corner  to  corner  of  the  in- 
mded  square,  then  four  other  cards  of  like  value  (say  the 
)ur  aces)  to  form  the  opposite  diagonal.  It  must  be  borne 

1 mind  that  of  whatever  suit  the  two  center  kings  are,  the 
wo  aces  must  be  of  the  opposite  suits.  Thus,  if  the  two 
enter  kings  are  those  of  diamonds  and  hearts,  the  two  cen- 
sr  aces  must  be  those  of  clubs  and  spades ; and  in  add- 
lg  the  two  end  aces  you  must  be  careful  not  to  place  at 


88 


cither  end  of  the  line  an  ace  of  the  same  suit  as  the  king  at 
the  corresponding  end  of  the  opposite  diagonal.  Having 
got  so  far,  you  will  find  it  a very  eas3r  matter  to  fill  in  the 
remaining  cards  in  accordance  with  the  conditions  of  the  puz- 


DRAWING-ROOM  MAGIC,  Fig.  4. 


zle.  The  sixteen  cards,  when  complete,  will  be  as  in  Fig.  4 
subject,  of  course,  to  variation  according  to  the  particulai 
cards  with  which  you  commence  your  task. 


The  Congress  of  Court  Cards. 

Take  the  kings,  queens,  and  Jacks  from  the  pack,  and  placi 
them  face  upwards  on  the  table  in  three  rows  of  four  each 
avoiding  as  much  as  possible  the  appearance  of  arrangement 


39 


but  really  taking*  care  to  place  them  in  the  following-  order: — 
In  the  first  row  you  have  only  to  remember  not  to  have  two 
of  the  same  suit.  Begin  the  second  row  with  a card  of  the 
same  suit  with  which  you  ended  the  first,  let  the  second  card 
be  of  the  same  suit  as  the  first  of  the  first  row,  and  so  on. 
The  third  row  will  begin  with  the  suit  with  which  the  second 
left  off,  the  second  card  will  be  of  the  same  suit  as  the  first 
of  the  second  row,  and  so  on.  Now  pick  up  the  cards  in  ver- 
tical rows,  beginning  with  the  last  card  of  the  bottom  row. 
The  cards  may  now  be  cut  (not  shuffled)  any  number  of 
times,  but,  if  dealt  in  four  heaps,  the  king,  queen,  and  jack 
of  each  suit  will  come  together. 

The  “Alternate  Card”  Trick. 

Privately  arrange  beforehand  the  thirteen  cards  of  anj 
given  suit,  or  mixed  suits,  according  to  the  following  formula 
placing  the  first  face  upwards  on  the  ( table,  the  next  in  suc- 
cession upon  it,  and  so  on. 

Seven , ace , queen , two , eight , three , jack,  four , nine,  five , 
king,  six , ten. 

Place  the  cards  thus  arranged  at  the  top  of  the  pack.  In 
exhibiting  the  trick  you  begin  by  counting  off,  without  dis- 
turbing their  order,  thirteen  cards  from  the  top.  Then  an- 
nounce, that  by  a strong  effort  of  the  will,  you  will  make 
every  alternate  cardy&ppear  in  regular  order.  Place  the 
top  card  beneath,  and  place  the  next  face  upwards  on  the 
table,  saying  “One  ! ” Place  the  third  card  underneath,  and 
turn  up  the  fourth,  which  will  be  a “two.  ” Place  the  fifth 
underneath  and  turn  up  the  “three,”  and  so  on,  and  continu- 
ing in  the  same  manner  throughout  the  thirteen  cards, 
which  will  appear  in  regular  order. 

The  “Spelling  Bee”  trick. 

This  is  a variation  of  the  trick  last 'described.  The  exhi- 
bitor, taking  thirteen  cards  as  before,  begins  to  spell  “o-n-e, 
one,”  passing  one  card  underneath  for  each  letter,  and  turn- 
ing up  the  fourth,  which  is  found  to  be  an  ace.  He  then 


90 


spells  “t-w-o,  two,”  passing  three  cards  more  beneath,  and 
turning  up  the  next  following,  which  proves  to  be  a two. 
“T-h-r-e-e,  three,”  and  so  on. 

The  formula  for  producing  the  cards  as  above  is  as  follows: 

Three,  eight,  seven,  ace,  king,  six,  four,  two,  queen.  Tack, 
ten,  nine,  five . 

To  name  any  number  of  cards  in  succession  without  seeing 
them. 

The  performer  takes  the  pack,  and  secretly  notices  the 
bottom  card.  He  then  announces  that  he  will  name  all  the 
cards  of  the  pack  in  succession  without  seeing  them.  Hold- 
ing the  pack  behind  him  for  an  instant,  he  turns  the  top  card 
face  outwards  on  the  top  of  the  pack;  then  holding  the  pack 
with  the  bottom  card  towards  the  audience,  he  names  that 
card.  From  the  position  in  which  he  holds  the  pack,  the  top 
card,  which  he  has  turned,  is  towards  him,  and  in  full  view. 
Again  placing  his  hands  behind  him,  he  transfers  the  last 
named  to  the  bottom,  and  turns  the  next,  and  so  on  in  like 
manner. 

To  Nail  a Chosen  Card  to  the  Wall. 

Procure  a sharp  drawing  pin,  and  place  it  point  upwards 
on  the  table,  mantelpiece,  or  any  other  place  where  it  will  not 
attract  the  notice  of  the  spectators,  and  yet  be  so  close  to  jmu 
that  you  can  cover  it  with  your  hand  without  exciting  suspi- 
cion. Ask  any  person  to  draw  a cajrd.  When  he  returns  it 
*to  the  pack,  make  the  pass  to  bring  it  to  the  top,  palm  it,  and 
immediately  offer  the  pack  to  be  shuffled.'  While  this  is  being 
done,  place  your  right  hand  carelessly  over  the  pin,  so  as  to 
bring  the  center  of  the  card  as  nearly  as  possible^  over  it, 
and  then  press  gently  on  the  card,  so  as  to  make  the  point  of 
the  pin  just  penetrate  it. 

When  the  pack  is  returned,  place  the  palmed  card  upon 
the  top,  and  thus  press  home  the  pin,  which  will  project 
about  a quarter  of  an  inch  through  the  back  of  the  card. 
Request  the  audience  to  indicate  any  point  upon  the  wood- 


91 


fork  of  the  apartment  at  which  they  would  like  the  chosen 
ard  to  appear  ; and  when  the  spot  is  selected,  stand  at  two 
r three  feet  distance,  and  fling*  the  cards,  back  formost. 
eavily  against  it,  doing  your  best  to  make  them  strike  as 
at  as  possible,  when  the  other  cards  will  fall  to  the  ground, 
>ut  the  selected  one  will  remain  firmly  pinned  to  the  wood- 
work. Some  little  practice  will  be  necessary  before  you  can 
take  certain  of  throwing  the  pack  so  as  to  strike  in  the 
ight  position.  Until  you  can  be  quite  sure  of  doing  this,  it 
5 better  to  be  content  with  merely  striking  the  pack  against 
he  selected  spot.  The  result  is  the  same,  though  the  effect 
5 less  surprising  than  when  the  cards  are  actually  thrown 
rom  the  hand. 


Coin  Tricks 


! Coin-conjuring,  like  card-conjuring,  has  its  own  peculiar 
leights,  which  it  will  be  necessary  for  the  student  to  prac- 
ice  diligently  before  he  can  hope  to  attain  much  success  in 
his  direction. 


The  first  faculty  which  the  novice  must  seek  to  acquire  is 
bat  of  “palming”  — i.  e.,  secret^  holding  an  object  in  the 
>pen  hand  by  the  contraction  of  the  palm.  To  acquire  this 
x>wer,  take  a dollar,  quarter  or  nickel  (these  being  the  most 


92 


convenient  in  point  of  size),  and  lay  it  on  the  palm  of  th 
open  hand.  (See  fig.  1.)  Now  close  the  hand  very  slightly 
and  if  you  have  placed  the  coin  on  the  right  spot  (which  . 
few  trials  will  quickly  indicate),  the  contraction  of  the  pain 
around  its  edges  will  hold  it  securely  (see  fig.  2),  and  yo| 
may  move  the  hand  and  arm  in  any  direction  without  fear  o 
dropping  it.  You  should  next  accustom  yourself  to  use  th 
hand  and  fingers  easily  and  naturally,  while  still  holding  ti^ 
coin  as  described.  A very  little  practice  will  enable  you  t 
do  this.  You  must  bear  in  mind  while  practicing  always  t 
keep  the  inside  of  the  palm  either  downwards  or  toward 
your  own  body,  as  any  reverse  movement  would  expose  t £ 
concealed  coin. 


Berne*  thoroughly  master  of  this  first  lesson,  you  may  pr 
ceed  to  the  study  of  the  various  “passes.”  All  of  the  passj 
have  the  same  object  — viz.,  the  apparent  transfer  of  an  ari 
cle  from  one  hand  to  the  other,  though  such  article  real, 
remains  in  the  hand  which  it  has  apparently  just  quitte 
As  the  same  movement  frequently  repeated  would  cau; 
suspicion,  and  possibly  detection,  it  is  desirable  to  acqm 
different  ways  of  affecting  this  object.* 


* It  should  be  here  mentioned  that  the  term  “palming,”  which  we  have  so 
used  as  meaning  simply  the  act  of  holding  any  article,  is  also  employed  to  sign 
the  act  of  placing  any  article  in  the  palm  by  one  or  other  of  the  various  pass 
The  context  will  readily  indicate  in  which  of  the  two  senses  the  term  is  used  in  a 
given  passage.  It  is  hardly  necessary  to  state  that  the  illustrative  diagra 
represent  the  hands  of  the  performer  as  seen  by  himself. 


93 


Pass  1. — Take  the  coin  in  the  right  hand,  between  the 
second  and  thibd  fingers  and  the  thumb  (see  fig*.  3),  letting* 
it,  however,  really  be  supported  by  the  fing-ers,  and  only 
steadied  by  the  thumb.  Now  move  the  thumb  out  of  the 
way,  and  close  the  second  and  third  fing-ers,  with  the  coin 
.balanced  on  them,  into  the  palm.  If  the  coin  was  rightly 
placed  in  the  first  instance,  yo^i  will  find  that  this  motion 
puts  it  precisely  in  the  position  described  as  the  one 
for  palming;  and  on  again  extending  the  fingers,  the 
^oin  is  left  palmed,  as  in  fig  2.  When  you  can  do  this  easily 
with  the  hand  at  rest,  you  must  practice  doing  the  same 
thing  with  the  right  hand  in  motion  toward  the  left,  which. 


should  meet  it  open,  but  should  close  the  moment  that  the 
fingers  of  the  right  hand  touch  its  palm,  as  though  upon  the 
coin  which  you  have  by  this  movement  feigned  to  transfer  to 
it.  The  left  hand  must  thenceforth  remain  closed,  as  if 
holding  the  coin,  and  the  right  hand  hang  loosely  open,  as  if 
empty. 

In  the  motion  of  “palming”  the  two  hands  must  work  in 
harmony,  as  in  the  genuine  act  of  passing  an  article  from 
the  one  hand  to  the  other.  The  left  hand  must  therefore 
rise  to  meet  the  right,  but  should  not  begin  its  journey  until 
the  right  hand  begins  its  own.  Nothing  looks  more  awkward 
or  unnatural  than  to  see  the  left  hand  extended,  with  open 
palm  before  the  right  hand  has  begun  to  move  towards  it. 

Pass  2. — This  is  somewhat  easier  than  Pass  1,  and  may 
sometimes  be  usefullv  substituted  for  it.  Take  the  coin 


94 


edgeways  between  the  first  and  third  fingers  of  the  right 
hand,  the  sides  of  those  fingers  pressing  against  the  edges 
of  the  coin,  and  the  middle  finger  steadying  it  from  behind. 
Carry  the  right  hand  towards  the  left,  and  at  the  same  time 
move  the  thumb  swiftly  over  the  face  of  the  coin  till  the  top 
joint  passes  its  outer  edge;  then  bend  the  thumb,  and  the 
coin  will  be  found  to  be  securely  nipped  between  that  joint 
and  the  junction  of  the  thumb  with  the  hand.  As  in  the  last 
case,  the  left  hand  must  be  closed  the  moment  the  right 
hand  touches  it ; and  the  right  must  thenceforth  be  held 
with  the  thumb  bent  slightly  inwards  towards  the  palm,  so 
that  the  coin  may  be  shielded  from  the  view  of  the  specta- 
tors. This  is  an  especially  quick  mode  of  palming,  and  if 
properly  executed  the  illusion  is  perfect. 

Pass  3. — Hold  the  left  hand  palm  upwards,  with  the  coin 
in  the  position  indicated  in  fig.  1.  Move  the  right  hand 
towards  the  left,  and  let  the  fingers  simulate  the  motion  of 
picking  up  the  coin,  then  instantly  close.  At  the  same 
moment  slightly  close  the  hand,  so  as  to  contract  the  palm 
around  the  coin,  as  in  fig.  2,  and'  drop  the  hand,  letting  it 
hang  loosely  by  your  side. 

A word  of  caution  may  here  be  desirable.  These  “passes” 
must  by  no  means  be  regarded  as  being  themselves  tricks, 
y but  only  as  processes  to  be  used  in  the  performance  of 
tricks.  If  the  operator,  after  pretending  to  pass  the  coin, 
say,  from  the  right  hand  to  the  left,  showing  that  it  had 
vanished  from  the  left  hand,  were  to  allow  his  audience  to 
discover  that  it  had  all  along  remained  in  his  right  hand, 
they  might  admire  the  dexterity  with  which  he  had  in  this 
instance  deceived  their  eyes,  but  they  would  henceforth 
guess  half  the  secret  of  any  trick  in  which  palming  was 
employed.  If  it  is  necessary  immediately  to  reproduce  the 
coin,  the  performer  should  do  so  by  appearing  to  find  it  in 
the  hair  or  whiskers  of  a spectator,  or  in  any  place  that  may 
suit  his  purpose,  remembering  always  to  indicate  before- 
hand that  it  has  passed  to  such  a place,  thereby  diverting 


95 


the  attention  from  himself.  As  the  coin  is  already  in  his 
hand,  he  has  only  to  drop  it  to  his  finger-tips  as  the  hand 
reaches  the  place  he  has  named,  in  order,  to  all  appearance, 
to  take  it  from  thence. 

The  various  passes  may  be  employed  not  only  to  cause  the 
disappearance  of  an  article,  as  above  described,  but  to 
secretly  exchange  it  for  a substitute  of  similar  appearance. 
These  exchanges  are  of  continual  use  in  conjuring;  indeed, 
we  may  almost  say  that  three  parts  of  its  marvels  depend 
on  them.  Such  an  exchange  having  been  made,  the  substi- 
tute is  left  in  sight  of  the  audience,  while  the  performer, 
having  thus  secretly  gained  possession  of  the  original,  dis- 
poses of  it  as  may  be  necessary  for  the  purpose  of  the  trick. 

With  this  brief  practical  introduction,  we  proceed  to 
describe  a few  of  the  simpler  trick  with  coins. 

A dollar  being  spun  upon  the  table,  tell  blindfold  whether 
it  falls  head  or  tail  upwards. 

You  borrow  a dollar  and  spin  it,  or  invite  some  other  per- 
son to  spin  it,  on  the  table  (which  must  be  without  a cloth). 
You  allow  it  to  spin  itself  out,  and  immediately  announce, 
without  seeing  it,  whether  it  has  faller  head  or  tail  upwards. 
This  may  be  repeated  any  number  of  times  with  the  same 
result,  though  you  may  be  blindfolded,  and  placed  at  the 
further  end  of  the  apartment. 

The  secret  lies  in  the  use  of  a dollar  of  your  own,  on  one 
side  of  which  (say  on  the  “tail”  side)  you  have  cut  at  the 
extreme  edge  a little  notch,  thereby  causing  a minute  point  or 
tooth  of  metal  to  project  from  that  of  the  coin.  If  a coin  so 
prepared  be  spun  on  the  table,  and  should  chance  to  go  down 
with  the  notched  side  upwards  it  will  run  down  like  an  ordi- 
nary coin,  with  a long  and  continuous  “whirr,”  the  sound 
growing  fainter  and  fainter  until  it  finally  ceases ; but  if  it 
should  run  down  with  the  notched  side  downwards,  the  fric- 
tion of  the  point  against  the  table  will  reduce  this  final  whirr 
to  half  its  ordinary  length,  and  the  coin  will  finally  go  down 
with  a sort  of  “flop.”  The  difference  of  sound  is  not  suffL- 


96 


ciently  marked  to  attract  the  notice  of  the  spectators,  but  is 
perfectly  distinguishable  by  an  attentive  ear.  If,  therefore, 
you  have  notched  the  coin  on  the  “tail’’  side,  and  it  runs 
down  slowly,  you  will  cry  “tail ; ” if  quickly,  “head.” 

If  you  professedly  use  a borrowed  dollar,  you  must 
adroitly  change  it  for  your  own,  under  pretence  of  showing 
how  to  spin  it. 

Odd  or  Even  ; or  the  Mysterious  Addition 

You  take  a handful  of  coins  or  counters,  and  invite  another 
person  to  do  the  same,  and  to  ascertain  privately  whether 
the  number  he  has  taken  is  odd  or  even.  You  request  the 
company  to  observe  that  you  have  not  asked  a single  question, 
but  that  you  are  able,  notwithstanding,  to  divine  and  counter- 
act his  most  secret  intentions,  and  that  you  will,  in  proof  of 
this,  yourself  take  a number  of  coins  and  add  them  to  those 
he  has  taken,  when,  if  his  number  was  odd,  the  total  shall  be 
even;  if  his  number  was  even,  the  total  shall  be  odd. 
Requesting  him  to  drop  the  coins  he  holds  into  a hut,  held  on 
high  by  one  of  the  company,  you  drop  in  a certain  number 
on  your  own  account.  He  is  now  asked  if  his  number  was 
odd  or  even  ; and,  the  coins  being  counted,  the  total  number 
proves  to  be,  as  you  stated,  exactly  the  reverse.  The  experi- 
ment is  tried  again  and  again,  with  different  numbers,  but 
the  result  is  the  same. 

The  secret  lies  in  the  simple  arithmetical  fact  that  if  you 
add  an  odd  number  to  an  even  number,  the  result  will  be 
odd;  if  you  add  an  odd  number  to  an  odd  number,  the  result 
will  be  even.  You  have  only  to  take  care,  therefore,  that  the 
number  you  yourself  add,  whether  large  or  small,  shall 
always  be  odd. 

To  Rub  One  Nickel  into  Three 

This  is  a simple  little  parlor  trick,  but  will  sometimes 
occasion  a great  deal  of  wonderment.  Procure  three  nickels 
of  the  same  issue,  and  privately  stick  two  of  them  to  the 
underside  of  a table,  at  about  half  an  in  inch  from  the  edge, 


97 


and  eight  or  ten  inches  apart.  Announce  to  the  company 
that  you  are  about  to  teach  them  how  to  make  money.  Turn 
up  your  sleeves,  and  take  the  third  nickel  in  your  right  hand, 
drawing  particular  attention  to  its  date  and  general  appear- 
ance, and  indirectly  to  the  fact  that  you  have  no  other  coin 
concealed  in  your  hands.  Turning  back  the  table  cover,  rub 
the  nickel  with  the  ball  of  the  thumb  backwards  and  for- 
wards on  the  edge  of  the  table.  In  this  position  yofir  fingers 
will  naturally  be  below  the  edge.  After  rubbing  for  a few 
seconds,  say,  “It  is  nearly  done,  for  the  nickel  is  getting 
foot;  and  after  rubbing  a moment  or  longer  with  increased 
rapidity,  draw  the  hand  away  sharply,  bringing  away  witn  it 
one  of  the  concealed  nickels  which  you  exhibit  as  produced 
by  the  friction.  Leaving  the  waxed  nickel  on  the  table,  and 
again  showing  that  you  have  but  one  coin  in  your  hands, 
repeat  the  operation  with  the  remaining  nickel. 

To  Pass  a Ring  through  a Pocket  Handkerchief 

This  trick  is  performed  by  the  aid  of  a piece  of  wire, 
sharpened  to  a point  at  each  end,  and  bent  into  the  form  of  a 
ring.  The  performer,  having  this  palmed  in  his  right  hand, 
\borrows  a wedding-ring  and  a handkerchief  (silk  for  prefer- 
ence). Holding  the  borrowed  ring  between  the  fingers  of 
his  right  hand,  he  throws  the  handkerchief  over  it,  and  imme- 
diately seizes  with  the  left  hand,  through  the  handkerchief, 

1 apparently  the  borrowed  ring,  but  really  the  sham  ring,  ' 
which  he  adroitly  substitutes.  He  now  requests  one  of  the 
spectators  to  take  hold  of  the  ring  in  like  manner,  taking 
care  to  make  him  hol'd  it  in  such  a way  that  he  may  not  be 
able  to  feel  the  opening  between  the  two  points,  which  would 
j betray  the  secret.  The  ring  being  thus  held,  and  the  hand- 
kerchief hanging  down  around  it,  a second  spectator  is 
requested,  for  greater  security,  to  tie  a piece  of  tape  or 
string  tightly  aro.und  the  handkerchief  an  inch  or  two  below 
the  ring.  The  performer  then  takes  the  hankerchief  into  his 
own  hand,  and,  throwing  the  loose  part  of  the  handkerchief 
-over  his  right  hand,  so  as  to  conceal  the  mode  of  operation, 


98 


slightly  straightens  the  sham  ring,  and  works  one  of  the! 
points  through  the  handkerchief,  so  getting  it  out,  and  rub- 
bing the  handkerchief  with  the  finger  and  thumb  in  order  to 
obliterate  the  hole  made  by  the  wire  in  its  passage.  He  now 
palms  the  sham  ring,  and  produces  the  real  one,  which  has 
remained  in  his  right  hand,  requesting  the  person  who 
tied  the  knot  to  ascertain  for  himself  that  it  has  not  been 
tampered  with. 

To  Pass  a Ring  through  the  Table 

The  necessary  apparatus  for  this  feat  consists  of  an  ordi- 
nary glass  tumbler,  and  a handkerchief  to  the  middle  of 
which  is  attached,  by  means  of  a piece  of  sewing-silk  about 
four  inches  in  length,  a substitute  ring  of  your  own.  Bor- 
rowing a ring  from  one  of  the  company,  you  announce  that 
it  will  at  your  command  pass  through  the  table  ; but  as  the 
process,  being  magical,  is  necessarily  invisible,  you  must 
first  cover  it  over.  Holding  the  handkerchief  by  two  of  the 
corners,  you  carelessly  shake  it  out  (taking  care  to  keep  that 
side  on  which  the  suspended  ring  hangs  towards  yourself)* 
and  apparenty  wrapping  in  it  the  borrowed,  but  really  the^ 
suspended  ring,  you  hand  it  to  one  of  the  company,  request- * 
ing  him  to  grasp  the  ring  through  the  handkerchief,  and  to 
hold  it  securely,  at  the  same  time  inviting  the  audience  to 
choose  at  what  particular  spot  in  the  table  the  ring  shall  pass 
through  it.  When  they  have  made  the  selection,  you  place 
the  tumbler  upon  the  spot  chosen,  and  request  the  person 
having  charge  of  the  ring  to  hold  his  hand  immediately  over 
the  glass,  around  which  you  drape  the  folds  of  the  handker- 
chief. “Now,”  you  say,  “will  you  be  kind  enough,  sir,  to 
drop  the  ring  in  the  glass.”  He  lets  go,  and  the  ring  falls 
with  an  audible  “ting”  into  the  glass.  “Are  you  all  satis- 
fied,” you  ask,  “that  the  ring  is  now  in  the  glass?”  The 
reply  will  generally  be  in  the  affirmative ; but  if  any  one  is 
skeptical,  you  invite  him  to  shake  the  glass,  still  covered  by 
the  handkerchief,  when  the  ring  is  heard  to  rattle  within  it. 


Your  next  step  is  to  borrow  a hat,  which  you  take  in  the 
hand  which  still  retains  the  genuine  ring,  holding  it  in  such 
manner  that  the  tips  of  the  fingers  are  just  inside  the  hat, 
the  ring  being  concealed  beneath  them.  In  this  condition 
you  can  freely  exhibit  the  inside  of  the  hat,  which  is  seen  to 
be  perfectly  empty.  You  now  place  the  hat  under  the  table, 
mouth  upwards,  relaxing  as  you  do  so  the  pressure  of  the 
fingers,  and  allowing  the  ring  to  slide  gently  down  into  the 
crown.  Leaving  the  hat  under  the  table,  which  should  be  so 
placed  that  the  spectators  cannot,  as  they  stand  or  sit,  see 
quite  into  the  crown,  you  take  hold  of  the  extreme  edge  of 
the  handkerchief,  saying,  “One,  two  three!”  jerk  it  away, 
and  request  some  one  to  pick  up  the  hat,  and  return  the  bor- 
rowed ring  to  the  owner. 


\je  Handkerchief  that  cannot  be  Tied  in  a Knot 

The  performer,  having  borrowed  a handkerchief,  throws 
the  two  ends  one  over  the  other,  as  in  the  ordinary  mode  of 
tying,  and  pulls  smartly  ; but  instead  of  a knot  appearing,  as 
would  naturally  be  expected,  in  the  middle  of  the  handker- 
chief, it  is  pulled  out  quite  straight.  “This  is  a very  curious 
handkerchief,”  he  remarks ; “ I can’t  make  a knot  in  it.” 

The  secret  is  as  follows  : — The  performer,  before  pulling 
She  knot  tight,  slips  his  left  thumb,  as  in  fig.  1,  beneath  such 


100 


portion  of  the  “ tie  ” as  is  a continuation  of  the  end  held  i a 
the  Same  hand.  The  necessary  arrangement  of  the  hands 
and  handkerchief,  though  difficult  to  explain  in  writing,  wid 
be  found  quite  clear  upon  a careful  examination  of  the  figure  . 

The  Vanishing  Knots 

For  this  trick  you  must  use  a silk  handkerchief.  Twisting 
it  rope-fashion,  and  grasping  it  by  the  middle  with  both 
hands,  you  request  one  of  the  spectators  to  tie  the  two  ends 
together.  He  does  so,  but  you  tell  him  that  he  has  not  tied 
them  half  tight  enough,  and  you  pull  them  still  tighter.  A 
second  and  third  knot  are  made  in  the  same  way,  the  hand- 
kerchief being  drawn  tighter  by  yourself  after  each  knot  is 
made.  Finally,  taking  the  handkerchief,  and  covering  the 
knots  with  the.  loose  part,  3^ou  hand  to  some  one  to  hold. 
Breathing  on  it,  you  request  him  to  shake  out  the  handker- 
chief, when  all  the  knots  are  found  to  have  disappeared.^ 

When  the  performer  apparently  tightens  the  knot,  he  in 
reality  only  strains  one  end  of  the  handkerchief,  grasping  it 
above  and  below  the  knot.  This  pulls  the  end  of  the  hand- 
kerchief out  of  its  twisted  condition  and  into  a straight  line, 
round  which  the  other  end  of  the  handkerchief  remains 
twisted  ; in  fact  converts  the  knot  into  a slip-knot.  After 
each  successive  knot  he  still  straightens  this  same  end  of 
the  handkerchief.  This  end}  being  thus  made  straight, 
would  naturally  be  left  longer  than  the  other,  which  is 
twirled  round  and  round  it.  This  tendency  the  performer 
counteracts  by  drawing  it  partially  back  thraugh  the  slip- 
knot at  each  pretended  tightening.  When  he  finally  covers 
over  the  knots,  which  he  does  with  the  left  hand,  he  holds 
the  straightened  portion  of  the  handkerchief,  immediately 
behind  the  knots,  between  the  first  finger  and  thumb  of  the 
right  hand,  and  therewith,  in  the  act  of  covering  over  the 
knots,  draws 'this  straightened  portion  completely  out  of  the 
slip-knot. 


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Old  Secrets  and  New  Discoveries 

CONTAINS  INFORMATION  OF  RARE  VALUE  FOR  AXE 
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This  book  is  a combina- 
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(1)  Old  Secrets?  N 

(2)  Secrets  for  Farmers; 

(3)  Preserving:  Secrets; 

(4)  Manufacturing  Secrets; 

(5)  Secrets  for  the  House- 
wife ; and 

(6)  The  Secret  of  Money 
Getting,  by  P.  T.  Barzmm. 

This  Book  Tells  how  fo 

make  persons  at  a dis- 
tance think  of  you— 
Something  all  lovers 
should  know. 

St  Tells  how  you  can  charm 
those  you,  meet  and 
make  them  love  you. 

It  Tells  how  Spiritualists  and  others  can  make  writing  appear  on  the  arm 
in  blood  characters,  as  performed  by  Foster  and  all  noted  magicians. 
It  Tells  how  to  make  a cheap  Galvanic  Battery;  how  to  plate  and  gild 
without  a battery ; how  to  make  a candle  burn  all  night ; how  to  make 
a clock  for  25  cents ; how  to  detect  counterfeit  money;  how  to  banish 
and  prevent -mosquitoes  from  biting;  hofa  to  make  yellow  butter  in 
winter;  Circassian  curling  fluid ; Sympathetic  or  Secret  Writing  Ink  ; 
Cologne  Water;  Artificial  Honey;  Stammering:  how  to  make  large 
noses  small;  to  cure  drunkenness;  to  copy  letters  without  a press; 
to  obtain  fresh-blown  flowers  in  winter;  to  makegood  burning  can- 
dles from  lard. 

it  Telia  how  to  make  a horse  appear  as  though  he  was  badly  foundered : 
to  make  a horse  temporarily  lame ; how  to  make  him  stand  by  his  food 
and  not  eat  it;  how  to  cure  a horse  from  the  crib  or  sucking  wind; 
how  to  put  a young  countenance  on  the  horse;  how  to  cover  up  the 
heaves;  now  to  make  him  appear  as  if  he  had  the  glanders ; howto 
make  a true-pulling  horse  balk;  how  to  nerve  a horse  that  is  lame, 
etc.  These  horse  secrets  are  being  continually  sold  at  one  dollar  each, 
it  Tel!s  how  to  make  the  Eggs  of  Pharo’s  Serpents,  from  which,  when 
lighted,  though  but  the  size  of  a pea,  there  issues  from  it  a coiling,  hiss- 
ing serpent,  wonderful  in  length  and  similarity  to  a genuine  serpent. 
It  Tolls  of  a simple  and  ingenious  method  for  copying  any  kind  of  draw- 
ing or  pictu  re.  And  more  wonderful  still,  how  to  print  pictures  from 
the  print  itself. 

tt  Tell*  how  tc  perform  the  Davenport  Brothers’  “Spirit  Mysteries,”  so 
that  any  person  can  astonish  an  audience,  as  has  been  done.  Also 
scores  of  other  wonderful  things  which  we  have  no  room  to  mention. 

OLD  SECRETS  AND  NEW  DISCOVERIES  contains  over  250  solid  pages 
of  reading  matter,  and  is  worth  $1.50  to  any  person;  but  it  will  be,  mailed 
to  any  address  on  receipt  of  only  25  cents.  Postage  stamps  taken  in  pay- 
ment for  it  the  same  as  cash.  Your  money  back  if  book  is  not  as  advet- 
Used.  Address  all  orders  to 

ADDRESS  ALL  ORDERS  TO 

MAX  STEIN  & CO.,  508  S.  State  St.,  CHICAGO.  ILL 


',1* 


-OK  riilE?*  ANQflELBCi  'CIAT' 

‘^p,  HAVE  :w  HI*  SOCKET.  A COMfj-^TS 

4.^-iTHICAL  re^EUEKCB  LIBRARY  IN  IXS£U>*' 


T5he  Handy  Vest-Pocket 

ELECTRICAL 

DICTIONARY 


BY  WM.  L.  WEBER,  M.E. 

ILLUSTRATED 

V 

CONTAINS  upwards  of  4,800  words, 
terms  and  phrases  employed  In  the 
electrical  profession,  with  their 
definitions  given  in  the  most  concise, 
lucid  and  comprehensive  manner. 

The  practical  business  advantage 
and  the  educational  benefit  derived 
from  the  ability  to  at  once  understand 
the  meaning  of  some  term  involving 
the  description,  action  or  functions  of 
a machine  or  apparatus,  or  the  physi* 
cal  nature  and  cause  of  certain  phe- 
nomena, cannot  be  overestimated,  and 
will  not  be,  by  the  thoughtful  assidu- 
ous and  ambitious  electrician,  because 
he  knows  that  a thorough  understand- 
ing, on  the  spot,  and  in  the  presence 
of  any  phenomena,  effected  by  the  aid 
of  his  nttle  vest-pocket  book  of  refer- 
ence, is  far  more  valuable  and  lasting 
in  its  impression  upon  the  mind,  than 
any  memorandum  which  he  might 
make  at  the  time,  with  a view  to  the 
future  consultation  of  some  volumin- 
ous standard  textbook,  and  which  is 
more  frequently  neglected  or  forgotten 
than  done. 

The  book  is  of  convenient  size  for 
carrying  in  the  vest  pocket,  being  only 
2%  inches  by  5ya  inches,  and  inch 
thick;  224  pages,  illustrated,  and 
bound  in  two  different  styles: 


Cioth,  Red  Edges,  Indexed  • • 25c 
Full  Leather,  Gold  Edges,  Indexed,  50c 


Cold  by  booksellers  generally  or  sent  postpaid  to  any  address  upon  it'cslp# 
of  price. 

MAX  STEIN  & CO..  508  S.  STATE  ST..  CHICAGO.  ILU 


POPULAR  NOVELS 


An  Original,  Illustrated,  Attractive  Cover 
on  every  Book 

15c  each.  7 for  $1.00,  Postpaid. 

Adrian  Leroy,  Chas.  Garvice  AWoman’s  War,  B.  M.  Clay 
Elaine,  44 


Farmer  Holt’s 

Daughter,  44 

Her  Ransom,  " 

Her  Humble  Lover  *• 

Her  Heart’s  Desire,  •* 

My  Lady  Pride,  * 
Royal  Signet, 

The  Sculptor’s 
Wooing,  44 

A Wasted  Love  * 
Woven  on  Fate’s 
Loom,  * 

The  Marquis,  “ 

A Coronet  of  Shame,  * 
Lucille, 

Love’s  Dilemma,  44 
A Woman’s  Soul  " 

For  Her  Only  44 

Leave  Love  to  Itself,  44 
A Love  Comedy  M 
The  Woman  Decides,  44 
My  Lady  of  Snow,  44 
The  Price  of  Honor  44 
A Passionate  Love  44 
Behind  the  Footlights,’4 
A Bridge  of  Love,  B.  M.  Clay 
A Dead  Heart,  44 

A Golden  Dawn,  " 

The  False  Vow,  44 

Her  Second  Love  44 
Lord  Lynne’s  Choice  44 
Like  no  Other  Love  44 
Love  for  a Day,  44 
Under  a Shadow,  * 
Heiress  of  Hilldrop,  44 
Set  in  Diamonds,  44 
A Squire’s  Darling  44 
The  Shadow  of  a Sin,  44 
The  Shattered  Idol,  44 
Thom  in  Her  Heart  44 
Thrown  on  the  World,  44 
A Woman’s  Temp- 
tation, * 

Wedded  and  Parted.  * 


A Queen  among 

Women,  44 

His  Wife's  Judgment,  44 
Dora  Thorne,  “ 

A Broken  Wedding  Ring, 
C.  M.  Braem 
Sir  Arthur’s  Heiress,  *f 
A Golden  Heart,  44 

A Fiery  Ordeal,  u 

A Mad  Love,  * 

At  War  with  Herself,  “ 

On  Her  W edding  Mora,** 
For  Another’s  Sin,  *• 
Wife  in  N ame  Only,  ** 
Between  Two  Loves  ** 
Her  Faithful  Heart,  14 
A Passionate  Love,  m 
Shadow  of  the  Past,  “ 
Her  Only  Sin,  “ 

My  Wonderful  Wife, 

Marie  Corelli 
Mildred  Trevanion, 

The  Duchess 
A Maiden,  All 
Forlorn,  ** 

The  Duchess,  •* 

The  Haunted  Chamber1* 
The  Honorable  Mr& 
Vereker,  " 

Lady  Valworth’s 
Diamonds  ** 

A Life’s  Remorse  ** 

Marvel  *• 

Under  Currents  *• 

A Crown  of  Shame, 

Florence  Marry att 
A Little  Stepson,  *• 

The  Poison  of  Asps  “ 
Deserted,  Elsie  Whittlesey 
Unknown,  44 

Hemlock  Swamp,  44 
Helen  Ethinger,  44 

Not  Exactly  Right  44 
The  Last  Heiress, 

H.  W.  Tayk* 


Wonderful!  Surprising!  Astounding!  A full  pack  of  52  cards,  appearing  pre 
'iselv  Tiie  same  as  an  ordinary  pack  of  playing  cards,  but  by  tli*  aid  of  the  in- 
structions  civen.  any  one  can  perform  tiie  most,  wonderful  and  apparently  im 
possible  tricks  Many  of  the  feats  exhibited  are  truly  marvelous  and  will  de 
light.,  astonish  and  amuse  a whole  audience.  Some  people  in  ay,  however,  bp 
come  so  puzzled  and  bewildered  at  the  mysterious  and  inexplicable  character 
of  many  of  the  tricks  as  to  attribute  them  to  the  agency  o-f  the  “ Fvil  One. 

Bear  in  mind  that  the  tricks  are  not  dene  by 
legerdemain  or  sleight-of-hand,  but  that  the 
whole  secret  is  in  the  cards,  and  the  tricks 
cannot  be  performed  by  any  other  cards.  No 
one  has  ever  been  able  to  discover  the  secret 
until  it  was  explained  to  them.  These  cards 
can  he  used-jn  all  card  games,  interspersing 
the  playing  with  tricks  that  will  astonish  every 
one.  We  also  send  with  each,  pack  the  cele- 
brated trick  cards  of  Prof.  Yiller.  rhe"re- 
nowned  conjuror  and  magician.  These  re- 
markable tricks  are  now  for  the  first  time 
made  public,  and  are  without  exception  t.hi* 
most  remarkable  card  tricks  'extant . As  i 
means  of  amusement  and  entertainment  thest 
cards  are  unequalled.  They  are  always  fresh, 
interesting  and  mysterious.  The  interest  in 
them  will  never  grow  old,  and  the  possessoi 
#111  be  a welcome  guest  to  any  entertainment  or  festal  occasion.  We  give  be- 
low  a partial  list  of  many  wonderful  tricks  that  car  oe  performed  with  the 
Wizard's  Pack.  1.  A card  may  be  drawn,  shuffled  in  the  pack,  and  cu*-  the  firs: 
lime.  2 To  blow  a card  from  the  pack  after  having  been  drawn,  returned  and 
•huffled.  3.  Tiie  two  colors  of  a pack  divided  by  one  cut.v  4.  The  card  dis 
overed  under  a handkerchief.  5.  Six  persons  draw  a card  each,  shuffle  them, 
,nd  immediately  after,  the  performer  at  once  produces  them,  pulling  them 
•apidiy  out  of  the  pack  one  after  the  other.  6.  The  performer  leaves  the  room 
vhile  lie  is  absent  a person  draws  a card.  He  returns,  ■ -.kes  the  pack  *t 
ns  hand,  and  immediately  pulls  the  card  from  the  pac-  drawn  in  iiis  absence 
T.  To  cut  a pack  and  name  the  number  of  cards  in  eacli  part.  8.  A card  drawn 
by  the  audience  not  seen  by  yourself,  shuffled  and  place* V-  it1  r:-'  pack  upon 
Ihe  table,  separates  itself  from  the  others.  9.  To  call  a'  • .mtavof  cards  and 
draw  them  from  the  pack  as  called,  etc.  While  performing  these  tricks,  many 
others  equally  as  gci-d  will  natural!',- suggested  to  "he  mind  of  the  per  ortner. 
We  mail  a full  pack  of  Wizard  s Oards  (52e~~^8),  Prof  •. 'll ler’s  trick  cards, 
*ud  a hook  with  full  and  explicit  instruction  .or  performing  all  the  tricks 
Price  35  cents  per  pack:  3 packo  for  90  ce*i<ls,  by  mail  post-paid.  Clear 
unused  U s_  »>wtage  st/mips.  or  any  denoiuiuauon.  tukeu  same  as  cash 


If  It  Is 


An  Affair  of  the 


Here  are  some  touching 
bits  of  sentiment  on  POST 
CARDS  to  send  the  only 
one.  Illustrations  that 
express  more  than  words 
printed  ih  beautiful  colors 
on  selected  tinted  card 
board,  designs  are  by 
some  of  America’s  most 
clever  artists,  25  different 
subjects. 

Order  from  your  book 
dealer,  or  they  will  be  sent 
to  you  post  paid  in  sealed 
envelope  on  receipt  of 
price. 

Z for  S cents.  2S  cents  a dozen* 

03- Cut  Out  and  Mali  This  to  Us. 

’"thk'stein  CO..  ~ 

V 'aate  Streetr  Chicago.  Sfi, 

enclosed  please  ftnd. . . » 

torcvhfeti  wend .......•••••a 

Name 

Address *-*-e 


THE  WIZARD’S  MANUAL 


In  this  advertisement  we  mention  bot  a few  of  the 
many  wonder*  that  every  person  can  perform 
titer  reading  the  WIZARD’S  MANUAL ; itcofc- 
oally  contains  more  information  than  ell  other  each 
books  combined. 

This  Marvellous  Book,  written  by  a 
noted  expert,  not  only  tells  Inst  how  to 
perform  the  most  wonderful  feats  in  iho 
category  of  Magic,  bat 

70  READ  It  lea  fact 
THOUGHTS  S37VE 

son’s  thoughts,  a©  that  you  can  reveal 
numbers  or  names  thought  of,  find  bid* 
den  articles,  etc.  SOD  CAN  DO  IT. 

Pwry  Seers©  <•  unfolded  so  clearly 
Qhatcvea  Children  too  learn. 


The  Greatest  Book  ever  issued  op 
ITS  kind;  a complete  compendium 
of  the  Secrets  of  the  Magician, 
Mind  Reader  and  Ventriloquist. 
Fully  explained  and  illustrated. 

■ it  explains—— 

How  to  Produce  Cabbages  from  a Hat. 

How  to  make  Rings  appear  and  Disappear. 

Howto  change  Paper  and  Bran  to  Mills 
and  Sugar. 

How  to  Produce  Fire  from  your  UoMlu 

How  to  make  a Person  Float  In  Air. 

How  to  do  all  kinds  of  Card  Tricks. 

How  to  do  ail  the  Latest  Coin  Tricks. 

How  to  Cut  a I.ady  in  Halves. 

How  to  Produce  Bowls  of  Fish  from  HaaA 
kerchiefs. 

How  to  Grow  Flowers  In  Empty  Vanes  Is* 
Stantly. 

How  to  do  Tricks  with  Dominoes  and  Dim 

How  to  do  Wonderful  Tricks  with  Hand* 
K6PCh  i6fs« 

How  to  do  Kellar’s  Ring  Trick. 

How  to  make  Large  Objects  Vanish. 

How  to  Profcure  Eggs  from  a Boy’s  MOktBi 

How  to  Restore  a Smashed  Watch. 

How  to  do  the  Great  Box  Trick. 

How  to  do  all  “Spirit”  Mysteries. 

How  to  make  “ Ghosts  ” appear. 

How  to  Perform  the  Davenport  Illnslonflb 

How  to  make  a Cane  Seem  Alive. 

How  to  make  a Coin  Answer  Questions. 

How  to  do  Vanishing  Lady  Trick. 

_ How  to  do  Hundreds  of  other  Marrelloq* 
feats  of  Legerdemain. 


SECRET  of  VENTRILOQUISM  REVEALED 

'2bt»  celebrated  book  tells  Howto  become  a Ventriloquist,  making  voices  apparently  emanate 
owa  boxes,  empty  rooms,  chimneys,  tranks,  loads  of  hav,  etc.,  and  Instructs  you  lust  how  to  “ throw 
your  voice”  so  as  to  make  wooden  images  appear  to  talk  ana  sing.  The  publisher  of  The  Wisard’f 
Manual  agrees  to  FORFEIT  81000.00  if  this  is  not  the  TRUE  SECRET  OF  VENTRILOQUISM. 
These  secret  instructions  have  never  before  been  published  in  book  form.  Professors  of  the  art  have 
charged  from  ©100.00  to  8500.00  to  instruct  others;  bv  investing  3S  cents  in  this  Wizard's  Manual, 
you  not  only  get  this  knowledge,  bat  a vast  amount  of  other  Information  on  all  subjects  pertaining  to  the 
mysterious  arts.  Yon  can  give  a long  performance  in  MAGIC,  MIND  READING  and  VENTRHAk 
QUISM  AFTER  YOU  HAVE  STUDIED  THIS  BOOK  A FEW  HOURS.  Don’t  fail  to  get  tt| 
emember  that  it  is  the  bes*  and  cheapest  volume  on  these  subjects  ever  issaed.  It  explains  many  Ilia- 
•Ions  amr  before  revealed  in  print,  guarded  secrets  of  the  Science  of  Legerdemain  and  PsvcholOOT. 
Avoid  buying  cheap,  imitation  catcb-pcnny  affairs;  get  The  Wjaard’e  Manual  and  you  will  be  well  plaasofc 
We  will  send  It  post-paid,  upon  receipt  of  only  25  CENTS; 


ON  AND  OFF  THE  BREAD  WAGON 


Being  the  Hard  Luck  Tales,  Doings  and 
Adventures  of  an  Amateur  Hobo* 

BY  CHARLES  DRYDEN 

Profusely  Illustrated  by  HY.  GAGE 


The  ups  and  downs  of  a young  man  who 
leaves  the  farm  at  a tender  age  to  wrestle 
with  fate,  and  the  strange  adventures  he 
meets  in  his  wanderings,  told  in  a vein  of 
irresistible  humor,  with  many  fun-provoking 
situations  and  side-splitting  pictures. 

A book  you  will  read  and  remember  and 
laugh  over. 

Over  250  Pages,  about  50  Pictures,  and 
Printed  in  Clear  Type  on  Good  Paper 


Paper  Cover,  Printed  in  Four  Colors 
PRICE  25  Cents 

Cloth  Cover,  Stamped  in  Four  Colors 
PRICE  50  Cents 

For  sale  everywhere,  or  sent  postpaid  on  receipt  of  price  by  the  publishers 


Brainy  Bowers 

and  Drowsy  Duggan 

STORIES  TOLD  IN  PICTURES 

The  side-splitting  stunts  which  first 
appeared  in  cartoons  on  th«  comic 
page  of  the  Chicago  Daily  News. 

By  great  brain  work,  Brainy  Bow- 
ers turns  all  circumstances  to  ad- 
vantage, but  generally  to  the  dis- 
comfiture of  Drowsy  Duggan. 

Comical  and  ridiculous  suprem- 
acy of  mind  over  material.  A laugh 
on  every  page. 

160  Pages,  All  Pictures,  Cover  in  Four 
Colors,  Paper,  - PRICE  25  Cents. 

Cloth  Style,  Stamped  in  Colors 

- PRICE  50  Cents. 

Sold  everywhere  or  sent  postpaid  on  receipt  of  price  by  the  publishers 


Star  and  Crescent  Puzzle. 


ists  of  two  stars 
one  crescent  and 
small  £orseshoe. 
puzztfc  is  to  take 
niddie  star  off  and 
ice  ft.  No  force  is 
ired,itstipsou  and 
isyw  ben  you  kno  w 
One  of  the  most 
ilizing  puzzles  put 
le  market  in  years 
ou  enjoy  solving; 
hard  riddles  this 
•le  will  meet  every 
irement  and  give 
e satisfaction. 

?,  postpaid.  10c. 
26c.  75c  per  dozen 


Puzzle  Keys. 


THE  MAGIC  DAGGER.'' 


11  re  two  iroukeys 
securely  caught  together 
with  no  visible  means  of 
separation,  and  it  will 
puzzle  the  cleverest  to 
get  them  apart,  but  there 
is  a way  to  get  them 


and  one  that  will  keep 


your  Friends  busy  trying  to  solve  it.  When  you 
are  in  the  secret  it  requires  but  a few  moves  .to 
interlock  the  keys  or  separate  them.  A very  in- 
genious and  difficult- puzzle.  Price  10c,  3 for  26c, 
75c  dozen,  postpaid.  A fine  seller. 


wonderful  illusion.  To  all  appearance  it  is  ae 
ary  dagger  which  you  can  flourish  around  in 
land  and  suddenly  state  that  you  think  you 
lived  long  enough  and  had  better  commit 
ie  at  the  same  time  plunging  the  dagger  up  to 
It  into  your  breastor  side,  oryou  can  pretend 
b a friend  or  acquaintance.  Of  course  your 
l or  yourself  are  not  injured  in  the  least,  but 
eception  is  perfect  and  will  startle  all  who 

ce»  15  cents,  or  S for  40  cents,  by  mail,  post* 


FLY  SS&ftF  PIN 

The  prettiest  and  most 
unique  little  scarf  pin  ever  in- 
vented. It  is  an  exact  repro- 
duction of  a common  house- 
fly in  color,  size,  shape  and 
appearance.  Get  one  of  these 
pins  aud  see  bow  many  peo- 
ple will  try  in  the  course  of 
a day  to  brush  it  off  your  tie 
or  coat  lapel.  If  you  want 
something  both  novel,  useful 
and  amusing,  you  should  pos- 
sess one  of  these  pins. 

It  is  mounted  on  a strong 
steel  pin  and  is  worth  double 
the  price  we  are  asking  for  it. 

Sent  postpaid  for  only  < Am 
Three  for  25  cents.  1 W W 


?H£  GOOD  LUCK  PUZZLE. 

Can  yeti 

take  the 
the  cen« 
ter  shoe 
off?  It 
looks  so 
easy  that 
an  y o n © 
would  bS 

fooled.  The  best  and  neatest  pocket  puzzle  eves 
made.  Made  of  steel.  Pp.  for  2.0c,  3 for  25c. 

I th'elink  fczzleT 

The  sensa 
lion  .ofc  tin 
day.  Pro 
nounced’  bj 
all  the  most 
baffling  ' and 
scientific  hbV; 
■city  out  'Thousands  have  worked  at  Jt'fcr 
hours  without  mastering  it,  8tIJl.it  cait-lie 
done  two  seconds  by  giving  tfie-;link^’thg 
proper  twist,  but  unless  you  know  how  the 
harder  you  twist  them  the  tighter  they  grow. 
- Price,  lO  cents;  3- for  2&  Ceats,.- by  mail, 
postpaid. 


The  Magic  Fan. 


This  fan  is  to  ail  appear- 
ance the  ordinary  article 
and  you  can  open  and 
close  it  and  fan  yourself 
at  will.  You  then  hand 
it  to  someone  else  with 
an  invitation  to  use  it.  As  soon  as  they  take  it 
in  their  hands,  however,  it  will  fall  to  pieces  and 
appear  to  be  broken  beyond  repair,  but  when  re- 
turned to  you  it  at  once  assumes  its  perfect  con- 
dition. * A great  thing  for  fun  at  parties.  Price, 
postpaid,  only  36  cents,  3 for  $L  


SSagis  Wafsfo  Cftarm 

A beautiful  little  ornament  made  of  imita- 
tion ivory  and  containing  magnifying  lenses 
of  the  highest  known  quality.  They  contain 
a variety  of  pictures  such  as  Actresses,  the 
Brooklyn  Bridge,  Handsome  Women,  Lords 
Prayer  etc.  Price  10  Cents,  3 for  26  Cents,  Post  Paid 


MAX  STEIN  & CO..  508  S.  STATE  ST.,  CHICAGO.  114* 


» — — n WAGIC  TOBACCO 

■ TO&A,CCao.\\  gQV  This  fitrmly  the  joker* 

little  friend,  end  mop* 

fun  e»n  be  had  with  it  than 

monkeys.  First  it  is  empty.  Show  it  again 


jerrel 

ull  of  smoking  tobacco;  breathe  on  it,  and,  presto! 
o is  gone  and  it  is  filled  with  Turkish  Cigarettes, 
mystified  and  wild  to  get  one.  Selling  like  hoi 
ice,  10c,  pp..  3 for  25a  and  our  bin  catalog.  Address 


SHINS  BILL  TRICK 


a bail  through  a solid  table,  blowing 
>ur  pocket  into  a vase,  which  is  included 
trick,  and  many  other  wonderful  feats 
imam, easily  performed  with  this  outfit.- 
in  do  these  tricks  with  short  practice, 
id  20c  ; 3 for  50c  ; Stamps  or 
t’our  money  back  if  you  don’t  like  it. 


iTRlO  PUSH  BUTTONS 

tre  WONDEREUL  *cJ  STARTLING. 

When  a friend  approaches  just  exposa 
the  bntton  to  view  and  you  will  have! 
the  fun  of  your  life.  Bo  will  be  sura 
V^\N  to  pash  it  and  receive  a smart  shock. 
Price  10c,  8 for  25c,  mailed  postpaid. 


anese  Trick  Knife 


cutting  off  your  finger  or  nose, 
in  show  the  knife  and  instantly 
t across  your  finger  or  nose,  ap- 
ly  cutting  deep  into  the  flesh, 
lood  appears  on  blade  of  knife, 
a startling  effect  to  the  specta- 
/hen,  presto  change!  the  knife 
>ved,  and  your  finger  or  nose  is 
in  good  condition.  A cheap, 
fective  illusion. 

10  cts.,  3 for  25  cts.,by  mail,  postpaid. 


Magta  Trick  Cards. 


With  tnosc  cards  you  can  perform  some  of 
the  most  wonderful  illusions.  Toucan  change 
eights  to  duces,  blacks  to  reds,  etc.  The 
transformations  are  truly  wonderful.  Price 
10  Cents,  w’th  inductions,  and  our  Big  Bar* 
gain  Catalogue.  Address 


MACCO  miQKBQX 

You  cau  burn  a card  to  aahta  and  then  have 
it  APPEAR  AGAIN  uninjured,  and  perform  many 
other  marvellous  tricks  with  this  made  box. 

Complete  outfit  with  directions  now  to  oper- 
ate the  false  bottom,  20c  postpaid.  3 for 
50c.  Stamps  or  silver.  Sour  money  back 
If  you  don't  like  It 


FIGHTING  ROOSTERS 


Mystify  and  amuso  your 
friends.  These  are  two  gen- 
nine  game  roosters  with1 
feathers,  they  fight  to  a 
finish,  and  are  always  ready 
to  fight.  The  secret  of  their 
movements  is  only  known  to 
the  operator.  Will  last  a life- 
time. 10c  per  pair,  3 for  25c, 
postpaid.  Address 


LIGHTNING  TRICK  BOX. 


A startling  illusion.  You  take^ 
off  the  lid  of  this  wonderful  box 
and  show  your  frieuds  that  it  is 
full  of  candy,  then  replacing  the 
lid  you  can  solemnly  assure  them 
that  you  can  instantly  empty  the 
box,  in  their  presence,  without  op- 
ening it,  and  taking  off  the  lid 
agaii),  sure  enough  the  candy  has  ^appeared 
Or  yt5u  can  change  the  candy  into  a piece  of  coin 
by  following  the  directions  sent  with  each  box 
Price  only  8c,  3 for  20c,  postpaid.  A neat  trick 


Tiie  Wizard’s  Wonderful  Tricx  Cards 


A full  pack  of  62 
cards  with  which 
the  most  wonderful 
tricks  may  be  per- 
^ formed.  We  give  a 

partial  list  of  some 
of  the  marvelous 

feats  to  be  accom- 

plished  by  their  aid. 
1.  A card  may  be 
drawn,  shuffled  in 
th_-  pack  and  cut  the 
first  time.  2.  To 
blow  a card  from 
the  deck  atter  hav- 
ing  been  drawn,  re- 
\>  “ turned  and  shuffl  d. 
\ 3.  The  two  colors  of 

a pack  divided  by 
one  cut,  4,  Six  persons  draw  a card  each,  re 
turn  them  and  shuffle  tue  deck,  after  which  the 
performer  at  once  produces  them,  pulling  them 
rapidly  out  of  the  package  one  after  the  other. 
5,  The  performer  leaves  the  room.  While  he  is! 
absent  a person  draws  a card.  He  returns,  takes 
the  pack  in  his  hand,  and  immediately  pulls  out 
the  card  drawn  in  his  absence.  6.  Cuts  the 
pack  any  place  and  instantly  names  the  number 
of  cards  in  each  division.  7.  A card  drawn  by 
the  audience,  not  seen  by  yourself,  shuffled  and 

Filaced  ;u  the  pack  on  the  table,  separates  itself 
rom  the  others.  8.  To  call  any  numberof  cards 
and  draw  them  from  the  pack  as  called.  These 
are  only  a few  of  the  many  wonderful  tricks  de- 
scribed in  the  directions  sent  with  each  pack. 
Many  of  the  feats  exhibited  are  truly  marvelous 
and  will  delight,  astonish  and  amuse  a whole 
company  Bear  in  mind  that  the  tricks  are  not 
done  by  legerdemain  or  sleight  of  hand,  but  that 
the  whole  secret  is  in  the  cards,  and  the  feat  can- 
not be  done  with  any  other  cards.  No  one  has 
ever  been  able  to  discover  the  secret  until  it  was 
explained  to  them.  These  cards  can  be  used  in 
all  card  games,  interspersing  the  playing  with 
tricks  that  will  astonish  everyone.  These  cards 
are  always  fresh,  interesting  a.ud  mysterious. 
Price,  postpaid,  35c. 


MAX  STEIN  & CO.,  503  S.  S 


ATE  ST..  CHICAGO.  JU-‘ 


i 


UNIVERSITY  OF  ILLINOIS-URBANA 


3 0112  109553989 


THE  WIZARD’S  MANUAL 


TEN  DOLLAR  VOLUME  FOR  25  CTS. 

In  thli  advertisement  we  mention  tut  a few  of  th* 


Tde  Greatest  Book  ever  issued  ot 
ITS  kind;  a complete  compendium 
of  the  Secrets  of  the  /Magician* 
Mind  Reader  and  Ventriloquist. 
Fully  explained  and  illustrated. 

' ■ it  explains  — 

Howto  Produce  Cabbages  from  A Hnt. 

Ho  v^uTproducc  Fire  from  your  Mouth. 
How  to  make  a Person  Floatln  Air. 

How  to  do  all  kinds  of  Card  Tricks.  - 
How  to  do  all  tbe  Latest  Coin  Trick*. 

Howto  Cot  a Lady  in  Halves.  

Produce  Bswlt  of  Fish  from  Hand 

How  to  Grow  Flowers  In  Empty  Vases  In. 

Stantly. 

Ho  w to  do  Tricks  with  Pomlnoes.and  Plcy. 
. How  to  do  Wonderful  Tricks  with  Hands 

kerchiefs.  _ 

How  to  do  Hollar's  Kin;  Trick. 

How  to  make  La 
How  to  Procure] 

How  to  Bestore  a Smashed  wucii* 

How  to  do  the  Great  Bo*  Trick. 

How  to  do  all  “ Spirit”  Mysteries. 

How  to  make  “Ghosts'*  appear.  . 

How  to  Perform  the  Davenpor* 

How  to  make  a Cane  Seem  AJh  _ 

How  to  make  a Coin  AnswerQuestior 
How  to  do  Vanishing  Lady  Trick. 

— ' Hundreds  of  other  A£arr< 


How  to  do 


many  wonder*  that  ‘SS  Mr»onc.n  j crfosm 

after  reading  '.no  WIZABD  S MANUAL IUct-  „ — „ — 

telly  contains  more  Information  than  all  otaeifuo*  feats  ot  Legerdemain. 

books  combined.  

This  Marvellous  Baok,  written  by  A 
.eted  expert,  not  only  tells  lost  bow  to 
perform  tbe  most  wonderful  Seats  in  ta# 
tslego ry  of  Magic,  bat 

UAUf  TO  READ  tits  stack 
HU  TV  THOUGHTS 

Son’s  thoughts,  «o  that  you  car  reveaj 
combers  or  names  thought  oY,  And  hid* 

den  articles, etc.  XOU  CAN  SOIL 
Qvery  8mt*«  Is  unfolded  so  el  early 
that  even  Children  < 


SECRET*  VENTRILOQUISM  REVEALED 


This  celebrated 
from  bojes,  empty 


bock  tclli  How  a Ventrflognlst,  JMUor  JW^ 

■ rooms,  cbimners,  trnnksT  loadJ  of  hay,  etc..  and  instructe  yoa  Just  bow  to  throw 

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*. FORFEIT  SI 000.00  if  this  U not  tbe  TRUE  SEOtET  OF  VENTRILOQUISM* 

These  secret  instructions  have  never  before  been  published  in  book  form.  FroreMonof  tae  im awy 
chained  from  Si 00.00  to  *500.00  to  instruct  others;  by  investing  VS  cents  in  this i Wizard 1 s Manaa^ 

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Avoidbuying  cheap,  imitationcatch-penny  affairs;  get  The  Wizard’s  Manoal  and  yon  ’ »>»  *>«  f*}1  F1  * 
Wa  will  aend  H post-paid,  upon  receipt  of  only  25  C£2i7St0tt  topics  (Ot  IL.09.  QcMOOff  Others 

Mibsea,  thus  gotuas  yoa  j WiMtd’s  MaaosJ  (no. 

Max  Stein  Pub.  House,  508  So.  State  St., 
Chicago,  111. 


£3 


